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Il progetto per l’isola di Lampedusa è articolato sull’idea di un segno forte che incide la crosta terrestre, la cui espressività formale può essere ricondotta a interventi quali il Cretto di Burri e il memoriale di Eisenman a Berlino. L’intervento è concepito come un’opera di land art che dialoga con il territorio attraverso i dispositivi analitici dell’architettura e si definisce con il sistema della percorrenza. La forma architettonica-territoriale del monumento-memoriale identifica e riconosce nel carattere del progetto di architettura il valore di significato che il lemma transito è in grado di trasferire ed esprimere attraverso la forma d’arte. Il percorso, incidendo la crosta terrestre, lascia un segno indelebile al suolo che rimanda al tema del labirinto e alle incisioni rupestri.

The research identifies an innovative process for the performance assessment of façades. Starting from the harmonised technical specifications, it defines a Method Statement that considers the responses to climate change in progress. This document, drawn up based on know-how gained as a result of experiments conducted on façade components, was created as a support tool for the National Technical Assessment body-TAB. The methodology is deductive with an interdisciplinary approach applied to testing activities in its obligatory and experimental aspects. The research is based on process innovation, performance evaluations and quality controls of the project from a constructive-environmental perspective. [ABSTRACT FROM AUTHOR]

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Il testo è frutto di una intervista a cura di Sahar Taheri allo studio.entresitio relativa a tre centri sanitari di Madrid, denominati ‘3*1’. Essi condividono una forma comune pur essendo distinte le localizzazioni all’interno del tessuto urbano. Cosicchè i tre centri incarnano una strategia di ‘edificio senza luogo’, offrendo autonomia formale e flessibilità concettuale. Viene introdotto il concetto di ‘barre programmatiche’, sottolineando l’aggregazione rispetto alla suddivisione nella progettazione del programma sanitario. La trilogia rappresenta approcci innovativi di progettazione, conciliando opposti e creando strutture sanitarie coerenti e adattabili.

Il contributo indaga la ricerca che il Collettivo di architettura Bohob sta portando avanti sulla città di Catania attraverso due binari paralleli: il disegno della città e i progetti minimi, tenuti insieme dal disegno d’architettura inteso come strumento cardine della disciplina architettonica. La Pianta topografica della città di Catania di Sebastiano Ittar del 1832 rappresenta una città in cui un nuovo impianto è pregiudicato dal permanere di frammenti antichi. Questa è la base teorica sulla quale fondare il disegno della città del collettivo Bohob, con l’obiettivo di elaborare un disegno in continuità con l’idea di Ittar, proponendo uno scarto minimo ma decisivo. I progetti minimi nascono dall’esigenza di costruire luoghi urbani in prossimità delle aree archeologiche nel centro di Catania, attualmente percepite come marginali. Consistono in una famiglia di preziose teche elaborate attraverso il trittico, un metodo di disegno che tiene insieme simultaneamente tre scale: la planimetria 1:200, la scala della città; la pianta 1:50, la scala dell’edificio; la sezione-prospetto 1:10, la scala del costrutto architettonico. Al trittico, come appendice necessaria, si aggiunge la vista, non tanto la simulazione di una realtà futura ma la rappresentazione evocativa dell’idea alla base del progetto: la città, l’archeologia e il progetto minimo sulla soglia fra le due.

L'ultima fatica scientifica di Renato Capozzi, il suo volume intitolato Sull'ordine, assume le sembianze innanzitutto dell'insieme di schizzi, appunti, scartoffie e tutto quanto è il caso di dire abita lo studio di un architetto, alla ricerca della dimensione di senso e configurazione che confluirà nel progetto. Questo insieme – in un libro – di pensieri in primo luogo, propri e altrui, con le varie categorie di virgolette a operare come limes tra gli uni e gli altri, rappresenta tuttavia l'inizio di una sequenza organizzata, non necessariamente conclusa, e ciononostante un ricchssimo repertorio di idee, concetti e progetti che può senz'altro costituire una materia di riflessione per l'architetto e per l'elaborazione di altre idee, di altri concetti, di altri progetti.

Integrating the energy issue in the regeneration of neighbourhoods influences the entire metabolism of the urban settlement. It opens up a reflection, within the disciplines of the project, on approaches, methods, and tools to make the energy transition operational in space. The complexity of the energy transition requires a holistic, multidisciplinary and integrated approach to design, capable of addressing energy transition processes at the neighbourhood scale. By adopting a method that interprets the landscape as a complex techno-natural infrastructure, the Al Safarat neighbourhood in Riyadh will be considered a possible experimental laboratory for the energy transition of the districts of the Gulf cities. [ABSTRACT FROM AUTHOR]

Copyright of Ri-vista: Ricerche per la progettazione del paesaggio is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Agathon: International Journal of Architecture, Art & Design is the property of DEMETRA CE.RI.MED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The 1980 Venice Biennale marked the definitive break between GRAU (Gruppo Roman Urban Architects) and Alessandro Anselmi. Talented architect, but also professor and editor of several well-known magazines, Anselmi expresses his design thinking through the art of the hand. Anselmi’s drawing, of considerable figurative value, tells about the poetics of the fragments around the void: planes and surfaces that follow the traces of the context and give life to articulated spaces. In the design sketches the language of Alessandro Anselmi emerges with all its expressive power revealing the close relationship between conceptual sign and poetics; a poetics supported by numerous theoretical reflections that insist on the irreplaceable act of the hand in the creative process of architecture.

As a creative reasoning, design is turning into something different from what we are used to, in a new logic that leads it, in the first place, to ensure environmental balance. Drawing has also changed, to the point that its demise, if not its death, has been explicitly mentioned. Rather, it seems to us that, from a pure architectural communication tool, drawing should be brought back to the role of a privileged instrument of design reflection, thus opening a season in which the project, also thanks to its digitization, the diffusion of BIM and the introduction of artificial intelligence, can be reconfigured as a simulation of construction work, if not as a form of punctual graphic deconstruction of architecture finally aimed at its construction.

Livio Vacchini’s experience takes on a radical and particularly problematic perspective, especially if it refers to the relationship between drawing and research into architectural forms. Vacchini shunned the sketch as a place for the formation of ideas. Considering the project as a construction of thought, between questions and themes posed, his worktable was rather ‘inhabited’ by diagrams, signs, words. Instead, his drawings – those iconic ideograms that describe the concepts expressed in his architecture – are well known. Sometimes Vacchini used the sketch to describe the compositional ‘structure’ of some of his works. He did it during his lessons. Here, flowing from the mind and through the hand, his signs do not construct complete images or images endowed with any iconicity. Rather, they allow us to retrace the trajectories of his thought with amazement.

Among the various interpretations that architectural drawings can take on, this essay focuses on one particular type, understood as an intimate manifestation of a specific compositional process. Post-war Italian culture has been testimony to that usage, which has made it possible to identify the construction of a unique inception of design among many famous architects. This paper, through a paratextual re-reading of notes, texts, drawings and designs, focuses on the Italian architect and professor Francesco Cellini, who used drawing to develop a way of planning and thinking about architecture, coming up with innovative techniques and tools to adapt to the needs of the time, and fostering consistency between idea and practice one of the most unique qualities of his signature style.

In recent years we have been witnessing the realisation of artistic projects that were conceived in aspecific situation, not realised and then produced in other contexts, in some cases even by differentpeople. These are not practices ofreenactment , i.e. the repetition of a work executed in the past, noreven aPlan B developed by the artist, but the enactment of projects that come to light for the first timein a context subsequent to the one in which they were conceived. In this essay, I propose defining thesepractices with the term post-enactment , identifying why we will increasingly be seeing projects of thiskind, and suggesting a possible taxonomy. One of the aims is to enhance awareness of the state ofprogress of the artwork project, the contingencies in which it is produced, and the artist's intentions: aseries of considerations useful for the valorization of the artist's work and the project as a critical method,rather than only as a work in a state of potentiality.

The increasingly pervasive use of artificial intelligence within the complexity of the world around us continues to fuel the scientific, philosophical, and political debate. Even within the construction sector (although still in an embryonic phase), it is possible to observe the first concrete results of the application of new digital processes, which are increasingly autonomous and support the design, definition, and validation of the project. The new frontiers of expansion of artificial intelligence systems, encouraged by the digital transition, require a careful reflection on the impact of new technologies in redefining the designer's role in the decision-making process. [ABSTRACT FROM AUTHOR]

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Il contributo intende mettere a fuoco all’interno della storia delle mostre alcune esperienze fondamentali per descrivere la relazione tra progettazione grafica e pratica espositiva. Attraverso una selezione di casi che hanno evidenziato qualità, disparità e attributi caratterizzanti del sistema delle mostre tramite il disegno, il paper si propone di leggere il progetto come scenario di un’attività di produzione. La lettura di alcune mostre interne agli anni ottanta e novanta diventano oggi occasione per riflettere sul sistema relazionale intrinseco alle pratiche del display. A partire dalla lettura e analisi degli oggetti editoriali prodotti in occasione delle esposizioni il contributo tenta di mostrare una relazione tra l’operato del curatore, il progetto grafico realizzato, le figure professionali coinvolte e il risultato ottenuto. I casi individuati trovano nella pratica curatoriale di Germano Celant un’attenzione alle qualità grafiche delle attività espositive da lui immaginate. Questa pratica permette di sottolineare all’interno del paper il tema del progetto delle mostre come strumento di connessione. E, allo stesso tempo enfatizza le discipline coinvolte nelle esposizioni collettive per raccontare il dispositivo-mostra e le qualità di produzione dei sistemi immaginati.

University student living is an evolving form of housing, subject to significant investment and design experimentation. In Italy, Law 338/2000 gave a strong stimulus to the construction of student residences, incentivised the renovation of the existing building stock and produced significant results in terms of architectural and urban redevelopment throughout the country. The considerations outlined are the result of several years of research that has seen the working group engaged in the definition of project standards and in the activities of project investigation and the monitoring of the realisations conducted in support of the ministerial evaluation (MUR) of co-financing applications. The data acquired in the course of the research constitute an unprecedented wealth of knowledge on the phenomenon of student housing in the last fifteen years in Italy. [ABSTRACT FROM AUTHOR]

This paper deals with the enhancement of the project for the intervention on existing disused buildings with three sequential objectives: converting tertiary buildings to the hybrid housing function; regenerating buildings, providing them with continuous transformative capacity and making them functionally convertible; providing a housing model of temporary uage duration, according to the principle of House as a Service. Considering the temporal variable, the proposal defines criteria that guide the reconversion of buildings in relation to the dynamic needs of the different categories of users and stakeholders who are involved in the decision-making process and, through the hedonic price method, investigates the influence that the qualities attributed to the performance of the building have on the formation of their value, highlighting the perception of value and the acceptance of green performances. [ABSTRACT FROM AUTHOR]

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To reconstruct implies an act of courage. To reconstruct the city requires a responsible, patient, conscious and daring act of preserving memory and committing the future. The act of architecture is never neutral, it is also a partisan act. It is the architect’s responsibility to move towards concrete actions through the project, which “case by case”, refutes hypotheses, verifies ideas and advances theses. Reconstruction is a project.

La tavola rotonda ha visto la partecipazione di Ilaria Bignotti, Alessandra Donati e Maura Pozzati intorno a una realtà, quella dell'archivio d'artista, sempre più centrale nel sistema dell'arte contemporanea, oltre che nel dibattito scientifico.

L’Autore sostiene che nel corso dell’analisi lo psicoanalista ricerchi implicitamente (seguendo teorie implicite) l’essere del paziente e ciò sarebbe auspicabile ma, seguendo il pensiero di Heidegger, lo ritiene anche difficile o forse impossibile a causa di un oblio dell’essere operato attraverso i secoli dalla metafisica tradizionale fondata sul pensiero cartesiano. Quindi espone, in estrema sintesi, parte del pensiero del filosofo e ipotizza di portare l’ontologia Heideggeriana all’interno della stanza d’analisi. Attraverso l’apertura del proprio essere l’uomo ‘esiste’ e l’esistenza indica unicamente l’ex-sistere della vita umana, il suo carattere ‘estatico’ nel senso del suo ‘stare fuori’ ed essere esposta a ‘possibilità’, al suo ‘non ancora’, che esige di essere ‘progettato’ e deciso. L’Autore propone un parallelismo con alcuni concetti della meta-teoria dell’Io-soggetto di Michele Minolli e accenna anche ad una rivisitazione del concetto di investimento inteso come significazione ed espressione d’essere; infine, si chiede se nel processo analitico la coppia paziente e analista possa divenire in contatto con il reciproco ‘essere’ o se ciò sia invece pura utopia.

The author claims that during psychoanalysis the psychoanalyst implicitly seeks (using implicit theories) the patient's being and this would be auspicious but, according to Heidegger's thought, he also considers it difficult or perhaps impossible due to an oblivion of the being as a result of the traditional metaphysics based on Cartesian thought. Hence, he exposes, in a brief explanation, a part of the philosopher's thought and suggests bringing the Heideggerian ontology into the psychoanalysis room. through the opening of his being man 'exists' and existence indicates only the ex-sistere of human life, his 'ekstatic' character in the sense of his 'being outside himself' and being exposed to 'possibilities', to his 'not yet being', which needs to be 'planned' and decided. the Author proposes a parallelism with some concepts of Michele Minolli's meta-theory of the I-subject and also mentions a reinterpretation of the concept of investment understood as signification and expression of being; lastly, he questions whether in the analytic process the couple, patient and analyst, can get in contact with each other's 'being' or whether this is just pure utopia. [ABSTRACT FROM AUTHOR]

Copyright of Agathon: International Journal of Architecture, Art & Design is the property of DEMETRA CE.RI.MED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The project for the recovery of the Paraloup hamlet in Piedmont represents the possibility of bringing back to life an abandoned village. This experience also represents the enhancement and communication of one of the most intense pages of the history of our country, both for its value as document and for its anthropological and social interest. Paraloup is a small alpine village in the middle of the valley, composed of a group of stone houses, once linked to seasonal mountain pastures. The essay focuses on the recovery of the small, abandoned hamlet and the concrete results in terms of cultural, social, and economic aspects. Paraloup today is a living and repopulated reality in a mountain place that was a desert and a pile of rubble. For these results, the recovery of Paraloup has become famous in Europe and received many awards and honorable mentions. In 2018 the project was exhibited at the 16th Venice Biennial for the Italian Pavilion entitled “Italian Archipelago - Projects for the future of the country’s internal territories”. Un ritorno possibile: il caso della borgata Paraloup nelle Alpi occidentali Il progetto per il recupero della frazione Paraloup in Piemonte rappresenta la possibilità di riportare in vita un villaggio abbandonato. Questa esperienza mostra anche il processo di valorizzazione e comunicazione di una delle pagine più intense della storia del nostro Paese, sia per il suo valore come documento che per il suo interesse antropologico e sociale. Paraloup è un piccolo villaggio alpino al centro della valle, composto di un gruppo di case in pietra, un tempo legate ad alpeggi stagionali. Il saggio si concentra sul recupero del piccolo borgo abbandonato e i risultati concreti in termini di ricadute culturali, sociali ed economiche. Paraloup oggi è una realtà viva e ripopolata in un luogo di montagna prima deserto e ridotto in rovina. Per questi risultati, il recupero di Paraloup è diventato famoso in Europa e ha ricevuto molti premi e menzioni d'onore. Nel 2018 il progetto è stato esposto alla Sedicesima Venezia Biennale per il Padiglione Italia dal titolo “Arcipelago Italiano - Progetti per il futuro dei territori interni del Paese ".

The conservation of abandoned urban sites, increasingly widespread all over the Italian territory and mainly along the mountain slopes, represents a complex cultural challenge which includes cultural, psychological, economic, technical, as well as aesthetic and social issues. While the sudden or progressive abandonment has guaranteed, in some ways, the preservation of authentic material values, at the same time the possibility of exploiting the places again through the restoration of architecture and the improvement of conditions of accessibility is functional also for the protection of the built heritage and the intangible values that characterize it. Starting from this, the contribution focuses on a synoptic framework of interventions and strategies aimed at the redevelopment of partially or totally abandoned urban sites in Italy, concentrating attention on the goals of diverse choices for safeguarding historic heritage. The framework aims at defining an atlas of practices that, within the complex restorative approach, can provide useful cultural stimuli to calibrate interventions respecting the multiplicity of instances and values involved in historic heritage. Specific focus is, therefore, placed on the paradigmatic case of the abandoned village of Tocco Caudio near Benevento, the subject of a research program undertaken between 2012 and 2017 at the University of Naples Federico II, characterized by the construction of a “participatory” process of possible alternatives for intervention. Borghi storici, rovine, monumenti. Esperienze e prospettive di ricerca sui centri storici abbandonati in ambito italiano La conservazione di siti urbani in abbandono, sempre più diffusi sull’intero territorio italiano e principalmente lungo le pendici montuose, rappresenta una sfida culturale complessa nella quale rientrano istanze di ordine culturale, psicologico, economico, tecnico oltre che estetico e sociale. Se il repentino o progressivo abbandono delle architetture ha garantito, per certi versi, la conservazione della materia autentica e dei valori in essa contenuti, contestualmente la possibilità di fruire nuovamente dei luoghi, attraverso il restauro delle architetture e il miglioramento delle condizioni di accessibilità, diventa funzionale anche alla protezione del patrimonio costruito e dei valori immateriali che lo caratterizzano. A partire da ciò, il contributo intende mettere a fuoco un quadro sinottico di interventi e strategie tese alla riqualificazione di siti parzialmente o totalmente abbandonati in ambito italiano, concentrando l’attenzione sugli obiettivi che sostanziano le scelte per la salvaguardia del patrimonio costituito. Tale indagine mira alla definizione di un atlante di pratiche che, entro il complesso approccio restaurativo, possa fornire stimoli culturali utili a calibrare gli interventi nel rispetto della molteplicità delle istanze e dei valori coinvolti in tale patrimonio storico. Uno specifico focus è rivolto, quindi, al caso paradigmatico del borgo abbandonato di Tocco Caudio nel Beneventano, oggetto di un programma di ricerca condotto tra il 2012 e il 2017 nell’Università di Napoli Federico II e contraddistinto da un processo “partecipato” di costruzione delle possibili alternative di intervento.

The scenography of Victory Over the Sun by Malevič (St. Petersburg, 1913) represents one of the best expressions of “total art”, combining allusions to the multi-dimensional Cubo-Futurist theatre with the experimental music of Matjušin, and the transmental language of Kručënych. The new idea of space in Malevich’s drawings goes beyond ordinary human reason – symbolized by the Sun – and spreads to the world of dreams, fairy tales, rituals, and folk traditions. The theatre performance leads the spectators through a journey to a new world without the Sun, and so without order, directions, proportions and rules, where the most incredible objects float and dance together in space, as the free words of a transrational Kručënych’s composition.

Collage is no longer a simple representation of the project or either a discourse through images meant to remain confined to the format of paper architecture. In the digital age, it has become a decisive tool in the design process. It is thanks to Photoshop collages that the new generations of architects, active since the early 2000s, began to challenge their discipline and its history, to reactivate interrupted paths and to introduce fragments of retroactive visions in the contemporary project, avoiding stylisation resurged in the postmodern times. Through the work of Office, and its unpublished drawings, the essay proposes to reconstruct the advent of Photoshop collage and its perspective vision as design criteria in today’s architecture.

The essay proposes to treat the condition of entropy which is by now recorded along the edges of seaside cities as well as along the coastal settlement systems. In the contemporary debate, after the many catastrophic events characterizing the limit between land and sea, it is going on the reconsideration about the cultural as architectural strategy, adopted from the European cities since the end of ‘800, focused on the practice of building defensive barriers to establish a limit, a clear separation between land and water – the waterfront – by rigid solutions which often increased the vulnerability of the places themselves. In Italy, the coastline state and the hydrographic system are often results of inappropriate management of territory and environment. In the last decades, this attitude compromised natural processes between land and water going to get worse the effects or moreover provoking natural calamities. In this sense, it is primary to investigate the natural languages within the urban and architectonic project to establish new artificial and natural dialectic in order to facilitate resilient processes intended as capacity of adaptation and flexibility, specially about erosive phenomena, to last, adapt and maintain themselves. Geografie in movimento: il waterfront e il progetto dei bordi interattivi Il saggio si propone di trattare la condizione di entropia che ormai si registra nei bordi delle città di mare e nei sistemi insediativi di costa. Nel dibattito contemporaneo, alla luce dei ripetuti eventi catastrofici che hanno caratterizzato il limite tra terra e mare, rimbalza il ripensamento della strategia culturale e architettonica adottate dalle città europee dalla fine dell’800, incentrate sulla pratica di edificare barriere difensive atte a stabilire un limite, una separazione netta tra la terraferma e l’acqua – il lungomare – con manufatti rigidi che spesso hanno accentuato il grado di vulnerabilità e quindi di fragilità dei luoghi stessi. Anche in Italia lo stato delle coste e del sistema idrografico è spesso il risultato di una non adeguata gestione del territorio e dell’ambiente che negli ultimi decenni ha compromesso i processi naturali tra terra e acqua, andando a peggiorare gli effetti se non addirittura provocando le calamità naturali. In questo senso diventa prioritario indagare anche nell’ambito del progetto architettonico e urbano i linguaggi della natura per stabilire una nuova dialettica tra artificiale e naturale favorendo processi di resilienza intesa nella sua capacità di adattamento, flessibilità, soprattutto nei fenomeni erosivi, per durare, adattarsi, mantenere.

The normative content of the article 6 of the Italian Constitution, which establishes the protection of linguistic minorities, is one of the most beautiful expression of democracy and inclusion in our country. It guarantees positive protection in order to preserve the linguistic and cultural heritage of minorities in accordance with the principles of pluralism and tolerance. Protection, cannot disregard the uses and customs that characterize it, from the history it has behind, it, from the particular use of public and private space. The characteristics and ways of experiencing the places of the house or town by the Arbëreshë minorities are unique and very interesting. It is unthinkable that the urban aspect of the settlements, the spatial and architectural differences that characterize them is left out in a project for the Arbëreshë minorities. It is essential to protect these places that are the theatre of all those artistic and cultural expressions that belong to this population and that need integrated conservation and safeguard projects. The knowledge of the territory is fundamental to understand the historical-geographical conditions that led to those forms of habitation and that today are disappearing due to a lack of urban planning of the villages that values the inhabited area rather than devaluing it. Thanks to the exclusive relationship with their natural environment, these places are very interesting in terms of biodiversity and landscaping. Gli insediamenti urbani delle comunità arbëreshë. Tutela e salvaguardia di un significativo patrimonio storico-culturale ed urbanistico Il contenuto normativo dell’articolo 6 della Costituzione, che sancisce la tutela delle minoranze linguistiche, costituisce una delle più belle espressioni di democrazia e di inclusione del nostro paese. Esso garantisce una tutela positiva al fine di conservare il patrimonio linguistico e culturale delle minoranze in conformità ai principi di pluralismo e tolleranza. La tutela, non può prescindere dagli usi e costumi che lo caratterizzano, dalla storia che ha alle spalle, dall’uso particolare dello spazio pubblico e privato. Le caratteristiche ed i modi di vivere i luoghi della casa o del paese da parte delle minoranze arbëreshë risultano uniche e molto interessanti. Non è pensabile che in un progetto di tutela delle minoranze arbëreshë venga tralasciato l’aspetto urbanistico degli insediamenti, le diversità spaziali e architettoniche che li caratterizzano. E’ fondamentale tutelare questi luoghi che sono teatro di tutte quelle espressioni artistiche e culturali che appartengono a questa popolazione e che necessitano di un progetto integrato di conservazione e di salvaguardia. La conoscenza del territorio è fondamentale per capire le condizioni storico-geografiche che hanno portato a quelle forme di abitato e che oggi vanno scomparendo a causa di una mancata programmazione urbanistica dei borghi che valorizzi l’abitato piuttosto che svalutarlo. Il rapporto così esclusivo con il territorio naturale fa di questi paesi angoli di biodiversità naturali e paesaggistici non indifferenti.

Nel 2007, OFFICE Kersten Geers David Van Severen presenta il progetto OFFICE 37 – A Green Archipelago, un prototipo per l’abitare di quattro foreste con sistemi insediativi sul lago artificiale Marker in Olanda. Le quattro foreste vengono rappresentate come isole (o chiatte) occupate da una fitta maglia d’alberi paralleli e distanti 10 metri gli uni dagli altri. All’interno della foresta un sistema di setti paralleli alla dispositio vegetale, ne replica la struttura e l’articolazione traslandone i materiali, a indicare così gli spazi per l’insediamento umano, nella declinazione della casa-patio; ampi vuoti interrompono la maglia vegetale e antropica, declinando due possibilità compositive entrambe di sottrazione: insediamento al margine e insediamento centrale, accogliendo così funzioni collettive, tutte indicate con la dicitura complessiva care, variazione teorica dello spazio di ‘cura’ (care / cure). La rappresentazione attraverso una logica biunivoca di spazi (nero-esterno, bianco-interno) fa slittare i significanti riportati, annunciando con delle immagini preliminari al progetto, collage che diventano vero e proprio strumento all’interno del processo, di essere già in viaggio: le ‘allucinazioni controllate’ sono gli esiti dell’indagine tra ‘sensazione’ e ‘percezione’. OFFICE ha immaginato un’altra galassia, la prossima, quella accanto.

Questa conversazione nasce dalla necessità di condividere una riflessione sulle risposte che le istituzioni culturali hanno individuato attorno al proprio ruolo e, in particolare, in relazione ai modi di fare ricerca, valorizzare il patrimonio e di comunicare. Il tema è quello dell'archivio come luogo che raccoglie un immenso e complesso patrimonio da valorizzare e che è anche il punto di partenza di progetti espositivi.

Copyright of Ri-vista: Ricerche per la progettazione del paesaggio is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ri-vista: Ricerche per la progettazione del paesaggio is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Reggio Calabria today, as with the entire area of the Strait of Messina involved in the recent project of the Metropolitan City, has nothing in common with the city represented in the engravings of Voyage Pittoresque of Saint-Non. Protagonist in the imaginary geographies of the Voyage, as well as in the personal geographies of its inhabitants ‒ it can now be described metaphorically as a kind of Calvinian Pentesilea running along 32 kilometers of coastline facing the Strait of Messina. It is necessary, therefore, to identify new design paths that can foreshadow a collective project able to update and renew sedimented symbolic values and the sense of belonging of local communities. All this is required to transform the “places of the soul” of the Metropolitan Area of the Strait in advanced scenarios of integration, protection, use and local development, as well as elements of the real morphological qualification of the territory and examples of how the wealth of “objects of nature and history “which are an integral part of the environment can be transformed into a wealth of “subjects of culture” interacting in the territory. They are subjects of culture, having an imaginative force like the engravings of Saint Non, able to redesign the personal perception of geography made up of “city-territory-landscape understood as spaces of social life, as a creation of civilization and as a promise of democracy”.

For the first time, the Voyage pittoresque of Saint-Non offered an image of landscapes suited to the romantic perception of the sublime, the result of a peculiar interpenetration between the work of man and a very varied and magnificently “wild” nature. Today, much of that perception is compromised, if not irretrievably lost. Will it be possible to recover, revitalizing a landscape so characterized and fascinating? Will it be possible to reconcile the recovery of historical perception with the demands of modernity? To do this we must consider the landscape as a resource to be designed with wisdom. This design wisdom must consist in considering local conditions not as constraints but as useful suggestions: starting from the place, from the geomorphological and landscape context, to give the project a territorial scale with ecological connotations, in a philosophical meaning extended to a social and historical vision of the landscape.

Recensione di Autore: Renato Capozzi, Gaetano Fusco, Federica Visconti (a cura di) Titolo: Pausilypon. Architettura e paesaggio archeologico. Lingua del testo: italiano. Editore: AIÓN Collana: Città e paesaggi meridiani Caratteristiche: formato 16x24 cm, 128 pagine, brossura, b/n ISBN: 978-88-98262-73-1 Anno: dicembre 2018

Since its pre-classical antecedents, the whole history of architectural thought has been characterised by a descriptive literary form. Though not exhaustive in defining the role and cognitive task of the discipline, the description – as an analytical device – is one of the favourite operative tools of architecture and this is true not just nowadays, at the time of storytelling, but has always been so since ancestral times. A long tradition can definitely be traced, whom only recently a name has been given to, perhaps on the wave of that predisposition to self-reflection of architecture on herself, inaugurated with the century of Enlightenment, specified in the Short Twentieth Century and become today way of thinking.

Copyright of Summa, Animali da Compagnia is the property of Point Veterinaire Italie s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ri-vista: Ricerche per la progettazione del paesaggio is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Rivista Italiana di Educazione Familiare is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Storia dell'Urbanistica is the property of Associazione Storia della Citta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

No idea of design exists before William Morris, in the second half of the nineteenth century, came to develop it and put it into practice. Before the Industrial Revolution there were arts and crafts, and certainly there were also designing activities (architects, for example, have been doing it for a long time), but the project in a modern sense, the design, was born from the idea that society itself can be changed, and predictably, through a project. In his action, Morris designs not only an object, but an activity of social relevance through an object. Before him, objects belonged to the material culture of the time, and were part of it in a traditional way: if they came to transform it, it was not an expected consequence. What should be considered an object is a complex question, however much it can have to be extended to virtual and intangible objects. In any case, a book is an object, even if we make reference only to its verbal or visual content. But a theater play, is it? One of the thresholds that decide when the projectual operation that produces it is design or not, depends on the decision on what is and what is not an object. Another threshold is more strictly pertinent to the precision with which the social consequences of one's action are designed. From this point of view, the domain of art is, for example, completely foreign to that of design, even though there may be objects that fall under both.

The application of drawings on the photographic support began to be practiced by architects since the end of the nineteenth century and it developed during the first decades of the 20th century, when it was contaminated by the success of the artistic collage. The views obtained through collage exploit the realism of photography to demonstrate a possible future. In this way, the visionariness of thought becomes an existing work and the representation of architecture escapes conventions and enters the territories of narration. The use of collage to enhance the theoretical and narrative value of the project is experimented during the 20th century, and then finds a concrete substance in the 21st century, thanks to the process of digital collage. The collage technique of the digital era allows to conceive images with narrative values, capable of defining cultural visions of architecture. The essay analyses what can be considered the conceptual epicenters of digital collage with a theoretical vocation.

Through a personal approach to collage, I try to set up a reflection on the possibility to employ manipulated images to envisage a project. The manipulated images link together different times and places, having the ability to support the construction of the project through a selection of fragments belonging to our memory, between whom the collage can establish a dialogue. The architectural project shapes up from a slow stratification of fragments; each selected image describe its history and it is a bi-dimensional model aiming to the tridimensional reality. It is important to use the form of montage as an instrument of thought and not only as an expressive language. The image, through the montage, implement something new. When this operation works, this process is able to create an estrangement towards what is familiar: it is a total transformation and an invention, and the collage is the core of this transmutation. Reflection arises and develops around the image. The image, through the collage, changes, thus assuming different meanings and structuring itself in endless combinations; in this process, its shape modifies continuously. The montage is a principle able to relate heterogeneous order of reality: it is an instrument that produces knowledge that can be employed to relate among them a series of fragments belonging to us or extracted from reality, in order to combine them together and define images that can be used as models to be interpreted.

A debate as to whether fashion should be considered as a creative or a cultural industry has been raging in fashion studies for several years. If we were to enter this discussion, which involves scholars of various extraction, we could say that fashion, whilst expressing the productive side of the textile and clothing sector, is “a creative and cultural industry of its own kind”. The cultural dimension and the creative dimension lead to the designing of clothes that in time will “write” a designer's story. They mark out an identity. They provide narratives of weaves, styles, colours, volumes and experimentations. They particularly reveal the dialogue between fashion designers and others involved in the process: weavers, artisans, pattern makers and embroiderers, but also chemists, engineers and mathematicians. Over time, these connections become a historical asset to be protected and enhanced.Italian fashion is created and built on the many connections between designers and companies. One interesting case is the relationship between Gianfranco Ferré and "Ricami Laura". It is a cultural and creative exchange based on knowledge and technique. It deals in drawings, letters, faxes, strips of fabric, sketches and designs. These materials now enable us to reveal the thought processes behind the style choices of one of Made in Italy's biggest designers and the masterful skill of embroiderers steeped in the Italian tradition.

Recensione del testo: Autore: Roberta Amirante Titolo: Il progetto come prodotto di ricerca Sottotitolo: Un'ipotesi Lingua del testo: italiano Editore: LetteraVentidue, Siracusa Caratteristiche: formato 12x16,5 cm, 128 pagine, brossura, b/n ISBN: 9788862422833 Anno: Giugno 2018

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