Running For For Skinny Feet High Arches

Outcrops

outcrops (which is the title of a monographic magazine's "Gomorrah") is a better word because interrelations two lines of thought.

The first is related to the flows, to overflowing, the limazioni (ie the threshold moving water) and then, ultimately, market liquidity, which is one of the key research themes, not only architectural and recent years. The second aspect is linked to the concept of stratification, since it was used by Peter Eisenman in 1978 with plans to Cannaregio, (and later by Bernard Tschumi, Rem Koolhaas and many others), has become a crucial weapon to think about designing urban. It is, as is well known, to design the coexistence of different systems (the green, paths, buildings and weaknesses, technological networks, etc.) in which each layer, or layer, is how to separate and on the other conspiring with others to create the complexity of the urban landscape.

Now the beauty of the word is surfacing in suggesting a process of revelation "to the contrary." As if the project should be through some layers, but instead a way through "top down" with a mode from the "bottom up". As a set of layers that normally surface, to emerge.

The difference is not trivial because it involves the replacement of a thought "mechanical", evocative of the artificial world of the industrial object, with an inspiration that looks at the complexities of anti-romantic (difficult and complex) of the contemporary landscape.



trying to make sense. Look at the famous draft Tschumi at La Villette in Paris. In that case the ground is a tray on which overlapping layers of buildings-points, routes, zones use and so on. Each system is independent and is created by layering the interest of the composition and space. It is an outcrop, but in fact a stratification mechanism where a layer is literally placed above the other.

Apparently our meaning is closer to the building at Check Point Charlie in Berlin. Eisenman described it as "stratigraphic section" of a mineral originated from a rippling of the earth's surface. This land-based re-emergence, however, is alien to the sense of the word cream.

The center of the concept as a tool for thinking about architectural choices, in my opinion, should focus on two components which we have mentioned and perhaps now clarified. On the one hand it is essential to the use of formative principles of the fluids, the other is the concept of "propagation of the zero quota". I mean, if we work for outcrops, there can be a tray, a single set of project plan from which to emerge masses telluric or where mechanical layering, but rather many layers, many units that just eat and fringed, shaped wound , gets a feeling of "surfacing" coexisting with each other.

I am convinced that the renewal of architecture that we are experiencing today is not just a matter of taste, new fashion, language but that it is motivated by at least three major themes, which are on one side crisis relocation of design culture and the other transformation engine.

The first (and the only mention I can do) is a new knowledge of the fragmentation of the urban landscape, which is both opportunity and reason of many projects today. The "brown areas" or brownfield sites are one of the fundamental opportunities of recent years and it is not surprising that there is a consistent aesthetic to them and consequences. A search that is based on the characteristics of fragmentation, remote location and viability of these new contemporary sites. That transforms them, as it always has the true architecture, new aesthetic feel. Now the area Ostiense in Rome is one that is historically in the past been characterized by a more industrial and is now almost at the same time the symbol of the need for conversion of new urban opportunities, new research on the city.

course, if the application of the concept of gravity outcrop rather than deal with large areas of former industrial zone on the Gasometer gravitating from one side and the old factory Mirala other hand, attention may concentrate in the area "between", which corresponds just as the redesign of the banks of the Tiber.



What are the main issues affecting this redesign? We proceed by points. The first is the goal of compensation. It is clear that the opportunities that have brownfield sites more if immediately adjacent to a watercourse, it may not lead to a strong injection of natural, green, and areas with different ratio of preserving environmental protection starts from the "total "to those used for sport and leisure. In any case, with very low density precisely to compensate the city and the citizens who live in neighborhoods, like that of Viale Marconi, produced by the well known "hand over the city" of the fifties-sixties.

A key point is that although the issue of compensation and the injection of naturalness, it is not under any circumstances to make a "park", but, in fact "new tracks from the city." The old industrial city had as a means necessary and appropriate to its production methods, the zoning . That is the division for homogeneous groups (in this industry, the residence here, hence the service sector and office, here, in fact, the park). The contemporary city, because the production model is based on information rather than on manufacturing, is increasingly a multi-functional and integrated city where the functions overlap and are combined to form songs that antizoning cities tend to live 24 to 24. Besides, this is the strategy proposed for the most important urban works of these years in Potsdamer Platz in Berlin.

This means that from the perspective of the functions of this new city track will feature a mix of productive activities of the company information that are both entertaining, commercial, service and communication. And that really work can only be technologically highly innervated. Wiring networks that carry both the traditional ones and to those information systems, lighting, access control, production of sound pictures and messages. Increasingly today, the nature and the natural back into play through hybridization with technology. Toyo Ito teaches.

Now, in a case like this, what better concept for dell'affioramento guide the choices of the project? The banks of the Tiber in this case live from the bottom up "as if surfacing." This creates precisely the propagation of zero, the crossing multiple layers of different morphologies and geometries and design of soil and artifacts from the different degree of permanence and rigidity. The strategy dell'affioramento, to preside over the formative project, has a component of all practice because it becomes natural to think of these terraces in relation to share the risk of growth in the level of the river water. The technique comes from planning and geography in the technical cultures indicate various levels of value and cost to vary the risk of flooding.



The image and the overall evocative of an intervention of this kind seems to me you can come closer to the Mara Memos in his paper Liquide thresholds ("Gomorrah", No. 2, 1998) evoked "The waterfront of the contemporary city landscapes are (...) of intense brightness formed by the reflection of mega screens, from the signs, the lights in the offices of the skyscrapers, the glass facades that reflect the clear night." The project, as summarized Ilaria Benassi to explain the proposal, which is shown here-comes from the need to return the river to the city through a critical analysis of the traditional system of levees that are the primary source of detachment of the city from the water. The board becomes the space for dialogue, it becomes a waterfront that breaks down fences and limits contamination of the surrounding objects and it is contaminated. The system designer touches the shores of the fragments of industrial areas, encompassing the surrounding area, is wedged in soil and vegetation, dig and stretches up to touch the water, work on multiple levels by multiplying the share of banks: it appears as a metropolitan hypertext.

Information About Antenna

images Zoelly

Pierre Zoelly. Elements of an Architect's Language book is a square of side 30 cm. It contains predominantly photographs, drawings printed in red, all at 500, even very large splash, and some photos in color, stretching for over half a meter, you suck in your pages.

The subject is the architecture, even fifty years of architecture of its author. Hundreds of different works, from residential buildings, museums and parts of cities are presented through a few words: mountain, trees, paths, choreography, brick, steel, glass and wood. The model of self-presentation of his works invented by Le Corbusier (see the 'Oeuvre complete in horizontal A4 format, clarity and completeness of documentation, organization projects, dialogue in the third person) is overturned.

Here a sketch of a mountain takes up three quarters of the current page and next to it are pictures of houses built in the pyramids of the Alps On the "trails" is the inside of a subway station, in that " tree canopies bus, the "roof" of tensile structures, shells or houses. The photographs and drawings are decked with short texts (in English, French and German) with aesthetical, technical, philosophical, autobiographical or working (for example, "the character of a roof can be read on its board).

Turning the pages is an event full of surprises. Whenever we find a different, an assembly that makes us think. A tree inspires a structure rooted in the ground, rising up with shelves, the basilica is a path, a mountain a layered section, a scale the need for a symbolic arrival, a fissure or a crack in the anticipation of a drama, wood texture , concrete strength, the brick versatility, the steel skeleton, an energy icy glass, light magic. And then the issues of concentricity, modulation, the clash between old and the choreography: where life, architecture interior and exterior spaces blend and move as one on the final page where the author shows "spontaneous graphs - the psycho - in which different forces are in report, and in which everything moves. "

is overwhelmingly a book of pictures. But beware, the image is the way for an architect-builder as Pierre Zoelly, thinking, indeed they are.

short, what really happens in this book? We can look for a key preface by Mario Botta, or the same author, but they both are on ' understatement. Instead, it is worth emphasizing, this book is particularly valuable, such as quality the architecture it presents itself.



Zoelly Pierre is an architect substantially ignored by international stardom for his ask for the media with a sense of aristocratic superiority.

He graduated in 1946 in Zurich and then studied at Carnegie-Mellon in Pittsburgh. He lived in the United States for a decade, teaching in Ohio and pursuing a busy career. Makes wooden or reinforced concrete shell structures, and projecting lattice and creates interior spaces that are moving away from the reassuring domesticity American state - even with the extensive use of steel in the furniture - the themes of "machine living ".



Back in Switzerland in the early sixties and in recent years began his expressive maturity that coagulates around three pillars: First, the expressive development of the construction process, with a slope very similar to that of architects like Renzo Piano and Norman Foster, then the architecture industry, the thermo-electric station in Zurich to the place of disposal of Glarus, and finally study of underground structures, which is a leading expert.



These themes reappear in the design of stations and transport interchanges, rail in two important achievements. In the Watch Museum in La Chaux-de-Fonds, creates an underground facility with a linear development of beams that emerge from the earth with the undulating rhythms of water in a pond. In the museum of the Red Cross in Geneva, the visitors reach the plaza outside the building through a crack in the hill, then they are led below to view a history of hopes and tragedies. A skylight illuminates the statue of the founder, Henry Dunant.



These museums, like the beautiful and somewhat Scarpian Gallery of Folk Traditions in Fribourg, are among the most intense and dramatic built in the eighties. In parallel Zoelly constructed an exemplary project on derelict land on the shores of Lake Zurich, blending new homes, offices, a museum around the partially restored, partially remodeled, some added the mill Tiefenbrunnen. In

volume illustrates these works, along with many others and a complete bibliography allows the further deepening of individual projects. But the book still has a clue. To draw or better to track, not so much the results of a life of work, but the strength and the very joy of their vision of the world.

Rebecca Lord Wallpaper

Abraham Zabludovsky. The Wizard of empty

In architecture there is love at first sight. It happens when an idea that is vaguely trying is encountered, mature and settled, in a work which he had watched only casually, but, at once, seems to embody all right: a meeting that opens the future.

If you consider the power of architecture in our South, you can assume a vital way for Italian designers might arise from the intersection of an asymmetrical composition that analytical procedures for fragments and for parades and a willingness to incorporate static internal space and the outer one in a fluid dynamic. An architecture that has the capacity to bring the public space through a game of cooperative shares and that it opens to nature by involving the pre-existing. The architecture also solid, heavy, made of stone materials that call our stones and our rocks but can incorporate inserts transparent, light, modern. Finally, an architecture that is neither mimetic plant to the landscape nor strictly opposed to artificial, but that evokes a strong and sacred (I say monumental, if we could use that word without being misunderstood) so that eschews high-tech engineers or neo-decorative knickknacks and enshrining of building the 'fundamental aspect: the seriousness of the commitment, the moral value of construction and all who are involved.

contains all these elements, the recent work of a Mexican architect, Abraham Zabludovsky. Who knows what great country knows that the name of Zabludovsky (which has long worked in partnership with Teodoro Gonzalez de Leon) can rightly be associated with the two great contemporaries Luis Barragan (1902-1988) and Ricardo Legorreta (b. '31), but his work is certainly still little known in our country even if there is some article was dedicated.

Zabludovsky, he moved to Mexico three years in his native Poland and graduated in architecture in the postwar period to the World University Nacional Autonoma de Mexico. In 1950 he opened a studio in the capital and started designing. In his career he has achieved far more 'of two hundred buildings and two fine monographs have been devoted by Paul Heyer, who has spread the knowledge in the United States. Zabludovsky began his career with a consistent approach to international modernism, and then, Le Corbusier, Walter Gropius, but also and Louis Sert. Produce mainly apartment buildings where a carefully defined planimetric features an image of the game follows the rhythmic structure is often treated in frames that give depth and chiaroscuro. Towers or satellite towns, patio houses, as the artist José Luis Cuevas, and bottlenecks. The turning point came in the seventies when making a work of great public importance, the College of Mexico to Ajusco in the territory of boundless capital. This is a research center inspired by the college in the UK or to the monasteries because it develops around a central space, but they distantissimo because the center is configured trapezoid, engages in the street instead of being fully closed and the buildings' cause in sections and articles on three interconnected levels. This work of 1975, which persist in the outer echoes of the brutal treatment of American Paul Rudolph, marks the beginning of the awareness that we have already called gauges. The compositions of the buildings have not only create value in the internal dynamic episodes, or composition of volumes under the light, but meeting the space between the buildings. Spaces that open and close, that accommodate the life of the inhabitants and visitors, organizing the flow but also the feel and contemplate.

Look to the concept of university teaching in the same locality but realized after four years: two cartons that carry zigzagging into the ground? that should appeal to a very as deconstructionist architect Daniel Libeskind? collecting patios and gardens and open landscape, nodes, paths to scale.



This awareness towards an open space formed by buildings is described and developed in subsequent projects, more and more 'successful. The volumes are often impressive, take on a sculptural quality, create the decisive game of shadows and light against the sky of Central America. But these volumes, in fact, often growing on elongated and dynamic platforms that terrace the ground, pierce like a sculpture by Henry Moore, are besieged by inclined planes of green: If one side can not but recall the great buildings of the past pre- colonial (but with a difference the "memories" fashion), the other playing with the medium value of life. In recent works such as the library of Mexico to the Cudadela, the Civic Theatre of Aguscalientes, the multipurpose auditorium of Celaya, spaces are created to mediate with the outside entrance of the large porches (especially that of the imposing City's National Auditorium Mexico with a mesh cover). Understanding the architectural sense of these spaces can only be done from within. Incidentally the strength of the Pantheon is not apparent by looking at the city through the huge columns?. In these works often are the mountains that come powerfully into the architecture., But the focus throughout the report to the Mexican interior and exterior, is also in the squares of entry in secret gardens, patios most of the works' small.



When a big lead? theater, auditorium, playground, reading room? is present in the program, the external volumes are soaring and even in contrast to find out the size of the void. The color is especially evident in the interior where the brown of the week contrasts with the glossy finish of the volumes and the presence of red or blue furnishings. The arts, and the assiduous with the artists of that country (including his brother Moisés), permeates the compositions and invigorating.



The walls, heavy, layered, strong are the matter before this architecture. Large areas of solid concrete, sometimes flat sometimes curved, refracting light through the inclusion of large aggregates or fragments of rocks and marble through a novel technique that has been progressively refined since 1968.



dwell on a work, emblematic of his way to work: the auditorium of the State of Guanajuato, capital of the homonymous. The city is of great nobility and architecture is so important that it is one of the sites under the protection of UNESCO world. The Auditorium, built on the heights surrounding the city, is home to almost two thousand viewers through a large room and a small two hundred people. The show, mostly by car, has been studied carefully. The curving road that leads to this kind of Acropolis stops under a huge portal (which marks the access to the work) and then descends into three terraced floors that house the parking. These terraces are the means, the plaintiff in the architecture, the pyramidal tract of land prerequisite to the emergence of large volumes free to shape the contact with the sky The portal of this auditorium is connected to a first porch with a roof painted in red , which leads to the Foyer closed on a curved line through the alternation of large area glass and concrete walls. Quote several open terraces in the foyer as one in the other connected by stairs and ramps, a true square blanket. The great hall of the Auditorium for 1800 admissions has resulted in concrete slabs? with large aggregates included, as in the outer walls, in the cast? separated from each other by vertical glass slots. But the touch of genius is in the balconies vibrate the cable and add an unusual and brave splash of color with a laminated coating of gold. Perhaps the same gold jewelry Maya or Aztecs who had dazzled the conquistador Cortez and predatory. But the Polish jew Zabludovsky enriches his work with the adopted land. It seems, above all, have understood and cultivated intelligence.

Convert Studio Vision Files

Access to Modern

"Twenty years ago, some of the experiences of radical Italian goliardic were greeted almost as a joke: when, for the first time, albeit at a level experimental, proposed replacing, finally, the architecture of the model with the architecture of the city . But those experiences, a dozen years earlier, had, too, had a significantly earlier (and equally ignored, or pilloried): In a series of projects (degree of competition) belonging to the same line of research initiated by Professor Giuseppe Samona, together with young researchers from the University Institute of Architecture of Venice. "

Francesco Tentori, chief editor of" Casabella "Rogers, author of fundamental studies on Le Corbusier and Pietro Maria Bardi, Architect and planner in Italy and South America, a professor of urban design in Venice, recounts the experiences discussing the project with the protagonists.

Tentori want to think again about the pioneering stage because he believes that the models developed are valid, but mainly because he believes necessary "Access with the modern "architects propose that the attention of the problems, contradictions, the challenges of a world that comes close to ten billion people and that those projects was already on the horizon.



Learning from Venice condensing these ideas through an examination of some projects now little known or forgotten. The first is drawn from the group Samonà for the national competition of the business center of Turin. We are in Italy in 1963 and is now being burst. The exhausting experience of post-conflict reconstruction-who had a scope in many buildings are of In-House-behind. The idea of \u200b\u200bcommunity and neighborhood, the requirements of the Manual of In House architect or brochures, the attempt to design projects to remember the achievements of Nordic organic matrix or our rural clusters, the development of a design which takes into account the social sciences in Italy during the boom came to represent a provincial heritage from "Land of the Baroque." Ludovico Quaroni, to whom we owe this definition, had lived at that stage and made public self-criticism, not only in words but also in a famous project for the salt marshes of San Giuliano in Mestre, which proposed the exact opposite of what is planned before. Ideology of the country, replaces a territorial dimension of architecture because the great semicircles on the waterfront structures intended to be able to communicate with the entire lagoon.

Giuseppe Samona had written in the late fifties a text that became the fundamental reference point for new ideas: Town planning and the future of the city crisis arose in the prescriptive zoning and planning techniques to insist that the architecture was to do the same town. At the Athens Charter, which outlines a functionalist and quantitative view, we preferred to other experiences of Le Corbusier: How to Plan Obus, where a highway that contained the lower floors and housing services, wound for miles along the Bay of Algiers. The architecture had become city and gave the relationship with nature, landscape, already built.

The theme of the great tertiary structures and management of the Italian cities (Turin, but also Florence, Rome, Naples, Bologna) seemed a fitting program to new ideas and their draft Competition Samonà group he appointed a clear application. "One great body building fluent and flexible", wrote Bruno Zevi, "in which the characterization process that follows function, as you point out and complete."



Another pioneering project was that for the accommodation of the new bag of Tronchetto in Venice. The group Samonà proposed that all the functions of the terminal rail and sea were collected in two artificial islands which create a strong image and a new subway. But the same tension in the conception of architecture as "urban fact" occurred even when the scale was limited to a single building as the offices of Anas office in Palermo or in the beautiful proposal for the new offices of the Chamber of Deputies in the historical center of Rome in 1965.

This group of ideas (the identity of architecture and urban design, the large size, the excess of the zoning , the disciplinary autonomy of architecture from the social sciences) early in projects and books Samona is transferred in the work of employees and teachers of young Venetians. Tentori proposes a design competition for the attention of the group of Roman and Chivirico Dardi to the hospital in Venice. Not only is a further development of that reasoning, but the singular fact, and so far almost unknown, is that this project was the basis for the next project for the Hospital of Venice written by the great Le Corbusier.

The ideas generated by Giuseppe Samona have begun to permeate the entire Italian architecture when, in the second half of the sixties, Aldo Rossi and Carlo Aymonino have developed a reading of "architecture" of urban transformation and at the same time have made an important made manifest: the homes popular in Gallarate, Milan. Many works have followed such as Valeriano Pastor and staff for the hospital Larino near Campobasso, Aymonino of the school campus in Pesaro, a large residential Rozzol Melara court of Charles Celli, the district Zen in Palermo and the University of Calabria Gregotti until Corviale Mario Fiorentino, the building of a kilometer down an embankment between city and country on the western outskirts of Rome.

"Learning from Venice," for architects who were trained in the seventies in the faculties of Italian architecture, it became a must: he meant to refer to a theoretical construct that departed from the University, groped to answer through architecture to those that appeared the great needs of society, to propose new models of living, to build, to design the relationship between architecture and cities. That the models proposed in the season if they are - in our view rightly - being gradually replaced other part of the evolution of thought and ideas, but Tentori is right in stressing that today is the intellectual challenge and professional at that time was the as characterizing the surface to be buried by an empty "architecture of the model."

One of the creed of functionalism was to cultivate the illusion that through a process focused on resolving individual problems (housing, distribution system, the distance between the buildings in relation to height, uniform exposure to the sun etc.) could succeed in building the city. But already in the fifties and sixties we hope that a process "from the spoon to the city" could not bear comparison with the results in urban environments before. It is precisely in the overturning of this sum and analytical concept that Italian culture has made a fundamental contribution and much thanks to the lessons of Samona and the School of Venice. In fact

Learning from Venice also launched a hope. The ideas, concepts, projects can transform reality, even if they themselves are nebulous, uncertain, contradictory. That's why, sometimes, need to go back to a record, as this difficult but exciting.

Once In A Blue Moon Hasegawa Takashi

The courage to engage

Italian architecture not very responsive. And use a euphemism. Maybe it's true: the ability to respond to change, is not unique component of our country because modernity is constantly hampered by the presence of layered time, because the memory is still burning so-called contradictions of the boom years and because the increasingly cumbersome equipment service and decision support almost prevent the emergence of wills. Individually, or associated with, vetoes almost always win. The high unemployment rate and the same birth rate is now near zero describes a country that, among Western nations, has the lowest planning.

In recent years, Italy has established a concept of maintaining the status quo that if for some it may be beneficial for large sections of society is enormous and growing source of frustration. In the world of architecture (the profession, universities, and publishing spheres of the company) there is little openness to new problems, little curiosity about a different way of doing and seeing things in strong defensive positions and ideas consolidated. The recognition of the defeat of architecture in Italy, however, is unanimous. This is confirmed by the magazines foreign sector which is almost absent.



Our situation is all the more surprising because it corresponds to a phase of high productivity on the international scene. We have all witnessed the takeoff of Spain, long wave of France, the courage to new challenges in Germany, also the activism of the small countries like Finland and Austria, with the constant development of architectural research in the Netherlands and Denmark. And leave out the United States, where the architects are experiencing a moment of euphoria, or what happens feverishly over the Pacific.

Italian architects today look shocked the world: the young, and there are plenty of valuable, are trying to hard work and dedication that is probably equal to the difficulties, an update. Sifting through the Internet, maybe you should be on bread and water to make Erasmus abroad, enroll in seminars, working in studios across the Alps, based on-line magazines. The architects with more than few decades of work behind, and who knew the most productive stages, they look perplexed architecture that makes the rest of the world. And maybe shrug their shoulders, labeling impracticability of those experiences here, or bias tracking of trends and quirky language, or adherence to advertising and strong signs of surface or vacant, or lack of coherence between form and function, division between construction and image. Defenders have known that, at the head of the system architecture in Italy for at least three decades, and share responsibility for the situation, now lead the "resistance" the wave of international architecture.



But the mechanism is old. Also the renewal of architecture here has gone through gauntlet. Who like Pagano, or perish or Giolli claimed indispensability of opening a European, was branded a traitor or traditions of the Bolshevik internationalism. In reality those personalities have established a practicable road, between instances of renewal and international interpretations of our own. And this way, it was not just the elite but was not covered by collective adventures despicable. Or do we forget the many rationalist buildings of the thirties, the vital phase neo-realist and organic fifties, the same troubled but courageous idea of \u200b\u200bthe house of popular sixties and seventies, the sensitive entries in the contexts of pre-existing lot of good architecture until at least the mid-eighties?

Returning to the dismay of that said, the criticism often than is done elsewhere is because of how episodes (ie unrelated, accidental and ephemeral) those that are obvious signs of a transformation in our company's overall which architecture is capturing and raising some characters.

We are living through years of profound change: from a society based on the mechanisms of industrial production, the requirements of a society based on production, formalization and distribution of information. The theme has been explored by at least two decades. What is new is that this change has now an impact in the areas of "our" and take concrete architecture of the city.

As fireworks display divide the issue into two aspects: one concerning the opportunities, the other the consequences for our actions.

start with the problem of brown areas or brownfield sites. The society has less and less need for large amounts of land, particularly if located in the city, to produce manufactured goods. The plants we buy at the supermarket is 90% information (research, marketing, distribution), the same and even more are the household appliances or cars and more people produce goods that are "pure" information. The production moved to offices, universities, research centers, but once unthinkable even in places such as homes, places of business or entertainment. The specific location becomes less and less self-determining factor.



In this process, which invests throughout the Western world, areas that are released by factories (which may become smaller and smaller, less polluting and depriving) and large resources are at stake, first of all precisely those abandoned by industrial production. We know the magnitude of the phenomenon and how many cases the architecture around the world are open.

The second opportunity is tied to a new relationship between man and nature. In fact, if the mechanism of industrial production that could not exploit, dominate, even violently use the natural resources that can enhance the information society. This opens the great theme wise use of resources, alternative energy sources, materials, healthier, more intelligent buildings that are able to use the natural energy instead of polluting waste it.



The third opportunity is related to the means Prince of the information society, namely the electronics and then to the new machines that process information. Now the opportunities to talk about these tools, or computer programs now appear simplistic because more and more electronics invests all down to our own bodies-are evident primarily in the immediately practical aspects (continued convertibility of the information, remote transmission, access a database, computational power, support for globalization mentioned before) is the most profound and radical (simulations, interconnection, integration, interaction between architecture and environment).



Now we come to the relationship between these three great opportunities and consequences. And rimettiamoci in a rigid position of closing, including maintenance of our conceptual staus quo, our certainties. We can each of these great opportunities to make a minimal level so to speak. Use the great topic of brownfield sites to enter the grid of a city monofunctional, regular and modulated as the big cities and middle-class dream from those features, increase the ratio of greenery around the buildings, or care to landscaping, use the computer to draw more efficiently and quickly.

And we can ignore those who think that those opportunities do require a profound change in the architecture and feel and the city. In fact it is not true as we had to do to simplify that on the one hand there are "opportunities" and other "consequences", even painless, temporary, relocatable under which we are accustomed. You could, of course, use the concrete to cover the buildings with the old putty, or do the factories with arches and columns, before the news and the crisis of transformation are expression it takes effort, courage, tensions and clashes. Many show signs of the international opportunities that are already linked in various ways to determine the information society consequences "strong" and basically required a closer look. It is surprising perhaps that having as great topic of brownfield sites that reveal a feeling that would break away from the certainties-type morphology that were processed (in particular by its Italian architects) to operate in the fabric of the consolidated city? It is surprising that operate in a residual, intricate, full of twists between uses, abandonment, was sought in the folds of the landscape poor new vitality?

We, however, seems quite natural that many look to the research of the artists closer to stratification, a residual of hybridization: the bags or cracks by Burri, to posters of skinned Rotella, the American neo-expressionism of Pollock and Rauschenberg's harder at the front of the Pop-art and Arte Povera. The architecture is way into the existing mesh, use and re-launch the existing objects like ready-made, created with its joint dynamics between "spaces" between "new and existing. Now this tension is full of international architecture. Relegated to the easy category "fashion" or "language" is an understatement, I think, unproductive.

Returning to the relationship nature-architecture, it is clear that within this increasing interest in the architecture tends to act as a landscape. The nature of architecture in this concept is not looking But more than floral or liberty or even that of masters of organicism, human counterpoint to the truth of the functionalist drivers. It has become a much more complex nature, much more hidden and probed with anti romantic eye through the formalisms of contemporary science (fractals, DNA, the quantum, the jumps of a universe that expands the relationship between life and matter). Arise in this context, the figures of the flows, wave, whirlpools, crevasses, and the fluidity of the liquid crystal becomes keywords.

opportunities confrontation with nature and the large brownfield sites in cities triggered the issue of "compensation". In areas that are often built to very high density you can inject green, nature, leisure equipment. But this is perhaps to limit green areas and fencing, to contrast with the residential, tertiary, as was the logic of organizing directional dividing the industrial city? The trend that is emerging is to increasingly hand in trying to create new pieces of the city where he built, along with a strong presence of nature, is active in interacting with the activities of the society. Or Eurolille or Potsdamer Platz or Battery Park we are interested only shapes?

And now the third one even closer relationship between information (or society) and architecture.

The architecture is, as is well known, discipline polysemic. Since ancient times it was seen as a synthesis of different, at least at first, they were corresponding to the three major areas of construction, use and form. The architecture established itself in the twenties has completely changed the content of the three major areas (the building no longer continuous but discontinuous walls for points, a function not only directed to the most courtly themes but to those of mass society, and an aesthetic replace old hinges figurative orders and perspective with those of the abstract movements of the new mechanical world). The necessity to the summary, however, not only persisted, but it was even stronger because the architecture wanted to join forces to serialization, typing, rationalization of industrial production. It followed that, as the object of use, it had more value as working as a system of consistency: the form must follow function, the interior had to be manifest on the outside, the building had to be in solidarity with the other aspects as far as possible and made manifest. This process towards the inner coherence of the project found its apex in the work of Louis Kahn, as appropriate, some see it as the last of the great masters of the first generation of the century and others, however as the strongest disruptive .

Now, if we use a formula of convenience, the architecture of today is violent, absolutely, anti-Kahn. It means that the search for inner coherence and absolute and almost tautological overlap (for the American master of form and function, form and construction) is a reverse process of liberation, of release from any system pre-ordained hierarchy. The architect instead of being on top of a pyramid of choices to govern and prioritize search for a location within a network of choices that are interrelated, complex, partly indeterminate and random with respect to his will. And this happens at all scales: Small, Medium, Large and Extra Large particular, that in urban systems and territorial Rem Koolhaas theorized evident.

The problem obviously is not then in fashion or language. We live in productivity that is no longer linked to the duplication of an object in the series but opposite process of personalization, individualization, opening to the constantly changing information, the immediacy of the responses, the recognition of individual creativity, the spread in the network information. And in philosophical, artistic, scientific or not adhere to strict rules of the Renaissance, or looking for ways balanced, consistent and closed a good part of this century, but to an acceptance of complexity. The street architecture, as a hypertext, and every time to trace.



This is also scary, painful and dramatic as always happens when you open up new opportunities, new freedoms. For example, the form instead of finding his reasons as an expression of function looks more and more metaphorical messages, metaphors, concepts. A building is no longer the only good if it works, like a car no longer be valid only if and as she walks, and both need to say much more. Apparently it is the container that triumphs over content, in reality they are the "information" that both carry the new value.

The old ethic of the correspondence form-building is broken and also the building looking for his way of optimization. A project now can be built in many different ways. The function extends to a more extended series of connections, first with the surrounding context. An obvious result of this work of untying, capacity control, liberation, if you want to sectoralisation, is to have, often, buildings far more efficient on purely "functional" than in the past, sometimes much more intriguing, and at the bottom as the top can seem absurd given their apparent complexity, even more feasible. Also because the computer and electronics that we saw play a role because then they become very powerful tool in foreshadowing geometric and arithmetic, sin'anco in ad hoc cut the pieces. Moreover, if this were not true, you do not understand why such architecture based on these principles is realized abroad. They all wrong?

Returning to the status quo and their overcoming. Looking at these achievements with the nose and duplicate uncritically embracing the undulating zigzag or belongs to a primitive stage and initial. Mind you, not bad in my opinion, more than it is to copy any model uncritically. It's about understanding the framework within which these trials take place, confirm the level of consistency with the situations in which they operate without too much forcing, but not too sudden yields. Above all, particularly those who have little or nothing to maintain, you must open with curiosity and interest in the new yeast. The world is changing, opening new crises and new opportunities together.

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method Lambertucci

method Lambertucci

Alfredo Lambertucci in more than forty years of activity has signed many important works, but it makes sense from the most famous: 524 housing and the services provided since 1972 on behalf of the Institute of Rome in independent housing area plan Vigne Nuove. This is a historically significant because it will represent a solidification point between the culture of the architects of those years and the general willingness to intervene in the problems of the city On the one hand there is the urge social and political life (the time for battle on the house) that is condensed in a series of laws (from 167 to 865) that enable the public to hand to intervene in large remote areas with specially drawn plans. More aware of the other designers have now developed themes such as "large", the integration of housing and services, growth of the city "for parts", the "town-design" aiming at designing innovative and appropriate all'impellenza needs. There are theoretical issues, as mentioned above, which arise from reflection engaged about a decade earlier by Giuseppe Samona ( Urban planning and the future of the city , 1959) and Ludovico Quaroni, in a famous project to Mestre (the Barene San Giuliano), had anticipated the ideas that had developed between then go to Rome, Milan and Venice.

Lambertucci When designing with Lucio and Vincenzo Passarelli Vigne Nuove, looks back on four decades of activity, with size and sensitivity, has gone through various phases of postwar Italian architecture.

His first work, the Church of Consalvi in \u200b\u200bthe Marche, is dated 1953. The designer conceived the building as a small farm, with the same dissonance, the different heights of the parties, the deep cone of shadow volumes dig: it would certainly liked to Joseph Pagano, author in 1936 of an anthropological survey ( Rural Architecture Italian ) that served as a means of tackling monumental waste and to bring out his manifesto of "current architecture". That is functional, measured, well-built, attached to the real needs and not the ego of the designer.



After this test, "neo-realist" and the houses of INA Rimini, Lambertucci tunes still above the building with the Italian debate Laterza of Bari, revealing a sensitivity texture to the rhythm of the facade (which has little to envy to the contemporary works of Franco Albini and Ignazio Gardella), but the designer also derives from its direct association with the painting: an experiment "private" but obviously important as it was for his friend Francis Berarducci. This attention to the modulation of the elements, but also looking for relationship with the surrounding environment, is also at the Institute of Pharmacology at the University City of Rome (with Claudio oil). A work of 1958 that may go unnoticed only to those who are inattentive to the wisdom of the composition of different parts, proportions, good taste that emanates from the entire building.

Lambertucci Experience firsthand the issues of great size in the sixties in a project to Secondigliano with Sergio Lenci. "A real dwelling unit to an open city and unlimited-writes on" The Laboratory "Spring '95-it contains within itself all the services and identifies an area as densely urban core from which depart Cross buildings linear and are filled to the areas surrounding the park. "

are ideas that will come back and at the same time will change just Vigne Nuove. Together with Mario Fiorentino Corviale and Tor Sapienza Alberto Gatti, Vigne Nuove work is the "symbol". While Corviale incorporates the idea of \u200b\u200bthe box of compact 'Unité d'habitation to bank between town and country, Tor Sapienza one of the great courtyard of apartment 'Villa Immeuble , Vigne Nuove combining the two models of the original master Le Corbusier marks a third way. On one hand, proposes an idea of \u200b\u200bcontainment fortified (symbolized But from zigzagging walls of the cylinder-spaced bastions of staircases), other circuit that protects a town of three thousand inhabitants include not only residences but also equipment public at different scales, community services, green spaces. The collection is divided into different profiles and connects the heart of its services with the surroundings through a pedestrian bridge.



Many hopes are concentrated in the project: in addition to already mentioned the climate center, we recall the conviction, so steadfast, that the city had yet to extend, even "split" stand-alone configuration, the belief that new interventions could redevelop the periphery speculative through the provision of new services, the trust that the seed of a more modern and efficient living processes could engage in more outreach activities. And then the statement of standards, finally recognized with the Law of Bridge 1967, prefabrication, at least outside of the panels to modernize the yard, the rational study of the distribution systems, and housing density within the large (425 inhabitants per hectare) necessary intervention.

Also, if we look at the building as an art object can only give us pause: there notes to consolidated city with different eyes, reminds us of the challenges of urban living, a willingness to boldly represent an alternative but is remembrance of our ancient hill settlements.

The intertwining of the ideological-political moment and the strength of the solution architecture means that new take on the Vigne relief of a witness whose approach with the respect due to a real effort. This does not mean, of course, develop a critical reflection. Lambertucci does it in first person in his mind that bell'intervento Camerino "The experience of New Vine has been, for me, a very rich test leads to the conviction of what was behind the basic research and the quality of its aggregation and integration in relation to changing social conditions, cultural and economic. Ultimately, we still proceeded from a handbook that had its roots in studies of the 30s and a regulatory environment with which they were trying to meet new emerging needs by sector. "

The difficulty Vigne Nuove, like other major projects of public housing architecture of the period, he lived was also the hope of resolving legitimate architectural design (the large-scale image innovative and modern urban dwelling) simultaneously the long series of constraints and requirements (operational, cultural, economic, psychological, manufacturing, regulatory) that fall within the context, some immature in Italy, of public housing. The clash between the tension in the renewal and the overall frailty of our "living culture" (for example Lambertucci, points out that considerable difficulty was that the recipients had no experience of living in a city or in a sector that Italy is still missing relevant scientific a post-evaluation of interventions ) has led to various challenges. But it is equally true that above all we must allow time architecture of sedimentation and, Vigne Nuove, this process is bearing fruit.

Architect thereafter carries out many other experiments both on the university home: from cooperatives in Ferrara, the row houses in Genzano, by his winning design on New types of residential accommodation in Emilia Romagna for research in key more analytical about the Villas in the Roman hills, or in arrangements for Testaccio in Rome. We hope to see you again its a piece of that city, twenty years later, to take stock of these new research and do not forget, at the same time, the courage and the challenge of urban living that has shown Vigne Nuove.



235 The number of "Building People" helps us to reflect over the whole of his work through two lengthy articles. We must be grateful to the authors and Vincenzo Costanzo Michele Giordano, who has tested and commissioned and published research well, because it is an original contribution and necessary for those who want to better understand the work of Roman architects in its design edge. In the two articles are regularly mentioned, and described carefully, architectures Lambertucci and certainly the reader will find many useful materials to their reflection.

The contribution closes with a sketch of the architect for the expansion of the courthouse Macerata. According us is a good choice because we believe it is a very meaningful project. The towers of his native city and next to the jagged profile of the body made up by himself in 1967 raises a pure cylinder, just recorded with a vertical knife, which has a base fabric with the next new classrooms illuminated from above .



This design and this would be enough to make us understand the sensitivity and culture of the designer. But we believe that this project, early in the pipeline, will say much on these times today: far from the ideological certainties of the Seventies, but also more open to the manifold, the fragments, tensions, capable, there it is hoped, leaving traces in Italy made that in addition to its function, and be well built and carefully detailed, suggestive. Teach us to look again and discover new relationships between contemporary architecture and our past.

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From the Earth to the CAD

To be understood by laborers, Brunelleschi was building models when continuously "with the soft ground, when with ciera, when with wood, and real turnips served him very large ones that are in the Verna market, called kicks, to make small modegli and to show them. " (Giorgio Vasari)

Virtually all models remained the fifteenth and sixteenth century Italian were displayed at the exhibition "Renaissance from Brunelleschi to Michelangelo" at Palazzo Grassi.

Twelfth exhibition organized by the institution's cultural Fiat in Venice, was the first to have the purpose of architecture: a scientific committee made up of sixteen international experts coordinated by Henry Millon and Vittorio Magnano Lampugnani has a period of the most fundamental of 'art of building. The intent is scientific and educational at the same time. Disseminate new acquisitions, but also stimulate the deepening the general public.

About a hundred years contain the time frame of the exhibition that opens and closes with two genes, two cities, two masterpieces: Filippo Brunelleschi (d. 1446) and Michelangelo Buonarroti (which has exactly one century after the task of building of St Peter). The dome of Santa Maria del Fiore in Florence and St. Peter's in Rome are milestones in world history of architecture that should not betray the expectations of half a million people who visit the exhibition.

exposure has reconstructed the entire artistic and historical context that has led to the development of the Italian Renaissance, the "new style" that marks a break with the Middle Ages. In the first decades of the fifteenth century, Brunelleschi revolutionizes the concept of space. For the first time at the center of the architecture is the man (not the greek Olympus, the power Roman, medieval God). The painters, sculptors and architects give shape to a measurable space and rationally controllable. Perspective is the scientific invention that organizes this view, the use of standard elements derived from ancient (the capital, column, pilaster, the round arch, etc.) of the measuring instrument.



But if the dome of Santa Maria del Fiore, the San Lorenzo or the Holy Spirit we move to the Laurentian Library, the Capitol Dome or the Vatican to discover that in a hundred years a revolution has been accomplished.

Man of climate Counter, Michelangelo replaces the serene confidence of humanism Florentine drama. The Copernican revolution has placed outside the terrestrial globe at the heart of the cosmos, Luther exploded the compactness of a schism with the Catholic building, Machiavelli theorized about the "double standards" in politics, the world does not stop in Gibraltar but it opens up new unforeseen frontiers. The prospect (symbol of a world unified and controllable in terms of religious and philosophical) are lost in the deformation of the orders, in the tensions between the separate volumes, in the joints of trapezoidal reservoirs. That's what Arnold Hauser calls the loss of center, the manner of the modern condition.

The dome of St. Peter concludes Renaissance humanism and opens the uncertainty contemporary with its inevitable tension in the manifold, to be heard, not the end.

An exhibition of architecture starts with a disadvantage compared to history, painting or sculpture. When the architecture is in the halls of a gallery, the public can only read the score. A disadvantage of this the editors have responded by offering a large range of supporting materials. Not just drawings, videos, paintings (among other things, the famous paintings of the ideal city preserved in Urbino) and above thirty models that are stored by that time to be the highlight of the exhibition.

Immediate entry is the suggestion already: you place the model in the lobby Antonio da San Gallo the young to St. Peter (1539-46), while, hanging on the grand staircase is the model of the dome of San Pietro di Michelangelo. Michelangelo overlooking St. Gallen, a clear allegory sought by Mario Bellini curator of to highlight the clash between the tormented and the creativity of one of the other legal professional.



The restoration of the model of St. Peter in 1539, completed by experts led by Stevan Pierluigi in 90,000 hours, is a great acquisition. He was in advanced state of deterioration, but today this micro architecture covering an area of \u200b\u200b45 square meters and a height of four feet allows the visitor to penetrate and explore space together with the smallest decorative elements.

models were used to Renaissance architecture in a variety of purposes: some were intended for the customer for approval and if the job had already been formalized, whether they were made for competitions between artists. This model was to simulate the effect of the work through some "fine adjustments", as recalled in his essay in the catalog Millon Bompiani. The model of St. Gallen, for example, omits the pier at the base of the dome, an obvious infidelity construction was necessary to make the true spatial effect for those who penetrated into the model. But in addition to his role of presentation models were used to study the project, to explore the alternative of replacement parts, to experience the building process, to organize the yard, talking to the laborers as Brunelleschi was buying turnips to the market and then record. But more

considerations addressed to the present are suggested by this exhibition. There are architects who create structures directly in three dimensions using a process similar to that of sculptors design, which for some remains the key tool to concatenate rational decisions, designers like Frank Gehry, Morphosis, or merely an instrument of representation and verification a posteriori. But another consideration arises when we think of the many meaning that the very word condensation model (nine according to Zingarelli). In addition to scaling-down of building structures, model is also the perfect example to follow. Here then is that throughout this exhibition hangs San Pietro in Montorio, Bramante, the small circular temple that sits in a courtyard of the Gianicolo in Rome. Unattainable model of perfection, (so much so that the perfect hemisphere of the dome could not be reproduced in the building pointed to St. Peter's), but also a model for its small scale (and a few meters higher than the model of St. Gallen).


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But a contemporary meaning of the word model that marks all of our distance from the Renaissance is to "theoretical framework developed in various sciences and disciplines to represent the fundamental elements of one or more phenomena" ( statistical model, business model etc.).

At first glance it is a meaning alien to art, but which has become of great relevance for architects through the computer.

Thanks to the computer can now be obtained in a single model all of the electronic tracking of Renaissance architects (captivate a customer, to study the phases of construction, produce graphs of explanation for the yard, exploring the moving object, to simulate light and shadows, the heat loss or structures). But it is also possible to have what the ancients could not even imagine.

The data contained in the electronic representation of a project are more rigid (as in traditional media), but are easily modified. And not only in their singularity, but in their reports together. (Changing the thickness of a wall in an electronic model involves the simultaneous checking on the cost, the thermal properties, the penetration of light, the image inside and outside because the parameter "width" can be interactively linked to many others).

Papers that describe a project tend to be well organized in its scientific sense of the term model. The performance review can be done over and over again by giving specific values \u200b\u200b(which are the assumptions of the project) to the uncertainties. This potential drives the designer to use the electronic model to represent not only, to decide and describe, but as an open structure which in turn simulates the behavior of the system-building to changes in assumptions and goals.

is not in itself guarantee good architecture, but provides an opportunity for dialogue with customers and employees that Michelangelo did not have. In any case the work of architects design it is the most important scientific breakthrough since the invention of perspective.

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Architecture in Sicily. Routes of imprinting

Architecture in Sicily. Routes of imprinting

"Dad, Sicily is a beautiful, ancient city," he says Raffaele just landed at Messina in one night -really-dark and stormy. It's an idea, in fact, come to me. Surrounded by deep blue sea that we feel the weight of millenniums.

Sicily, since he knew the rest of the Greek buildings that used the sea as a backdrop and light as the subject, look for the architecture as a hymn to heaven. Messina, perched on the narrow plain between the Peloritani and the sea, Palermo port-city all-or under Mount Pellegrino Catania, observed in every corner of the giant Etna, are cities that enhance the landscape.

View from the sea with his building in the first floor (designed by Giuseppe Samona thirties) or isolated from the hinterland of his jersey after the earthquake, the city is strictly catch the mountains, the sea, the light in the crystalline its image. Makes us understand the idea more attractive in the new Italian architects for the city: a sketch with five huge columns on the waterfront reveals that architecture and cities are here, the same thing as nature monuments to the theater or on a mountainside Temple on top of the hill or the bottom of the valley.



In Sicily there is a different relationship between architecture and landscape compared to other parts of Italy. Padania is a geographical context that the days of the Roman military fort and decumano urbanism can not escape the idea of \u200b\u200bartificial town, up to Aldo Rossi and Guido Canella, even the smallest object to be foreshadowing of an idea city, as if the memory of the foundation from scratch (or compete in an already existing completely artificial) can only be repeated each time.



architecture-city in the north tend to cancel out the nature, even in contexts where it is rich: the dome of Health won the Grand Canal, the Roman grid projected onto the front of the house overlooks the peaks of the beam Brunate in Como. At the center, however, is continuous stratification, accumulation and reuse in the footsteps of the previous civilization and nature. Rome is not a Roman city, rather an example of a permanent archeology. Need to remember the engravings of Giambattista Piranesi or still alive problem Park Forum which penetrate to the heart of the city for a mixed system of ruins and nature. So we understand why the bridge three miles in Calabria and Sicily a lot not to do. Better to let the American people these acts of power and domination. In the island of "Terra Trema", do not defy nature.

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Even if you arrive in Cefalu - the first significant step to understand the new architecture in Sicily - the first is identified with the landscape with architecture. The town is clinging to its rock and she looks at the sea. From the city center and a steep part straight away that, in the plain, is organizing the new expansion.

Cefalù is the center in which they operate-associated from 1964 - Pasquale Culotta and Joseph Leone. In these three decades, architects have moved in two directions chronologically later: one in the new town, the other in the center. Especially in the seventies, have worked closely with private industry (especially the company EGV) in projects located along the new axis of expansion outside the old town. The most important project, and we know, is right on Via Roma in a block adjacent to the station. Residence and services are integrated in three buildings that surround a series of interconnected spaces to each other. From the main road a short square-opens, so fluid and natural, on the opposite side from where you climb to the station. But the project is also crossed by other routes, some to the ground and other high altitude. In this way, the street front business-as-hypothetically may be left blind, and the life of the complex centered on the inner square.



project emerges from the suggestion of the architecture of the path of the walls of the Acropolis or the megalithic-Greek-Roman ruins of the nearby Tindari: re-establish a continuous, open and close, along with surprise but with a watchful eye the surrounding area.



A second courtyard building on a block adjacent to the sea, two parallel six-story buildings and one of the lowest tested via Gym and a new group of houses under construction on a lot between the new strategic expansion and the old town - again Culotta and Leo's - share characters and settings on the Via Roma orient buildings to an extension to rediscover architecturally (and commercially), tie the new space (through a network of paths and walkways) to the city, making every occasion a wedge that, while the functionality of the system for vehicles, develop the pedestrian network between them.

An interpretation of Mediterranean architecture of Italian rationalism and free forms of Le Corbusier and enhance the idea that Culotta Leone monomatericità call: buildings obtained from a single block of material in which color plays a crucial value. For example the whole of Rome via the white building contrasts with the green used in the trenches, in the two parallel bodies in the gym via yellow marks the driveway side, the pedestrian red one, building on the same street, a sculpture of colorful dress rose becomes the entry porch.

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restitched strategy that distinguishes these projects is also reflected in research, moving from areas of expansion of the Master Plan Samona of recovery, characterized by the most recent years. Culotta and Leone, starting in the late seventies, have been involved in the design and implementation then the first of a series of projects in the center of Cefalù in the detailed plan drawn up by them. It is worth remembering those first on the coast between the head and marched away Pierre: a series of small projects where the existing structures (a tower, a bastion, a section of wall) are reconnected to the city and the system of the cliffs. The rocks and stone work (lumachella) the walls are enhanced implantation of new facilities (stairs, benches, consolidations) in white cement. Most

important intervention in the historic, almost finished, is that which involves the monastery of San Domenico: an eighteenth century comprised of several buildings and a church in medieval foundation. Aimed at the Study Centre of liturgical arts of the Mediterranean, the project lives all the themes of connection to the city that we saw in the new. The building opens with a garden terrace on the rock, which enhances a portion with a course-park, while in a valley carved out of a new ramp connecting the complex to the existing embankment narrow little streets.

The interior is a sequence of events: the church recovered, the court, the study rooms and seminar (recaptured in their entirety by removing added a wall), the rooms of teachers in the former monks' cells, the new set of offices in Mt. The path ends in the internal library where - through a series of new openings - the scholar looks at the Norman cathedral in the east, north and the sea opposite to the red rock: the three-polarity in which the architecture is moving to Cefalu.

But now we understand. This center is a city laboratory in Italy, perhaps it can be approached only by Giancarlo De Carlo Urbino. With an even stronger point: that which has gone from Cefalu disseminating a modus operandi for the island.

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Also in Cefalù meet Marcello Panzarella three interventions in the detailed recovery plan: a series of fountains and paths that refer to each other, the churchyard of St. Maria that extends into the street, and two offset squares on different levels that develop with a measured-but-original interpretation of the theme of connections between internal and alleys of the old rediscovered.

Culotta and lions made in the nearby Santo Stefano di Camastra Sergio restoration of the building, adjacent to City Hall, which creates a series of garden spaces and a new route to the sea. On the public the idea is to exploit the internal square that defines the angle north-west of the original urban center planned at the end of the seventeenth century by the Duke of Camastra. Inside the building housing the ancient pottery created on site. Also in the center of Caltagirone, has now completed a renovation and expansion of intervention for the city theater, which marks the landing of the two architects to a dry minimalism that is stated clearly in the new villa built in Monreale: pure stands against a cube the sky as the paths and crossings are introjected in the living-square inside that is built around a three-tier cable.



But the same reasons also develop in other architects. Just look at the construction of a villa in Lampedusa Tilde Marra, the social center of Montedoro where new facilities (theater, pool, offices, library) grow on each other with a gap planimetric orography and able to adapt to existing LOCATION . Or cemetery Ciminna (Giuseppe Guerrera and Franco Grimaldi) or the small garden in a former railway plaza in Sommatino (Ecopolis Associates) or the house in Cefalù Carmelo Lo Curto and Rosario Mazzola and several other works that have been widely used and rated recent years by in Architecture, official spokesman of this trend.

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The formula that drives the works - "the universal and the specific architecture of Sicily" - like all others, is full of room for ambiguity, but has been gradually strengthened. The architects accepted the idea of \u200b\u200bcontamination, the need not to entrench in regional or retrive autonomy, but at the same time are keen to develop their specificity: a colorful monomatericità, a mystical interpretation of construction inhabited sculpture, the renew the existing planimetric and geometric stiffness without the freedom of the buildings in touch with the sky and their roots in the uneven ground. Never an axial, an easy symmetry, a free formalism. Seems to assert that simplicity violently modern (anti-classical, anti-academic) with which Joseph Pagano reread the Acropolis in Athens.

The basis of this sensitivity was the Faculty of Architecture of Palermo - of which the principal is to make the park Culotta d'Orleans, the new headquarters and partner while the professor is in charge of the Lion of Education headquarters. The Faculty has developed cultural lines already set in the seventies by Gino Pollini, Carlo Doglio, Alberto Samona Gregotti and especially that you should remember the formula.

The Faculty of Palermo as well as the names mentioned was also home to many foreign teachers (among others Aymonino, Benevolent, Needs, Giuralongo, Lenci, Pomegranates, Nicolin, Pollini, Quilici, Scolari, Tafuri, Tentori) that you were involved with varying degrees of intensity. Since 1985 a professor of design out of the office of special prestige is Francesco Cellini.

Gregotti in Palermo has created over the seventies, the neighborhood Zen - very successful project for a number of reasons primarily of a socio-political - but his recent work recalls the island results in its cultural center in Lisbon.



Here in Memphis it is the redefinition of the most important square in the center of Agrigento severely damaged by the earthquake. Gregotti operates in four buildings that insist sull'invaso. On the south, with a porch wraps access the ruins of the tower and the time of Frederick II stands as a block that creates a significant landmark. Next to the Tower - which houses the exhibition halls - is to undertake the restoration of a patrician palace, while on the northern edge of the square is in an advanced stage of construction of the church. On the same margin has now completed the new town hall which extends along an access road to the square. The simple volumes and dry, use it as nostalgic for the local stone, together with profiles of aluminum doors and windows, the proud resistance of some typical signs of his style make this such a success.

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If Cefalu gave us a clue to understand the spread of certain characters that come to affect even the work of an architect of international prestige as Gregotti, another must for Recent outcomes of architects working in Sicily is the Valley of Belice, crippled by the earthquake of 1968.



Gibellina A new-founded in the vicinity of the motorway to twenty kilometers downstream of the old-arrive without much hope. We know the story of his plan: the plan footprint of macrostructural in vogue in the seventies (Ludovico Quaroni, and Gregotti Samonà) to a rethinking of urban buildings of Oswald Mathias Ungers and studies coordinated by Pier Luigi Nicolin. The outcome is still poor but from the point of view of the challenge-city. Emerges above the difficulty in mastering the relationship between road infrastructure and buildings. Road and houses, squares and monuments in the city grow on secular economic and social relations (of power and necessity) are reset by an act of dominion or even worse, with the technical standards of urban zoning from . In this context, the sculptures are worth a little tomato or Consagra at various points or some buildings quality as the town hall in Albert and Giuseppe Samona or terraced houses in the recent plan Ungers. The white sphere inaccessible to the church Quaroni above the disappointing new city it is a bit 'symbol: Enlightenment reason that glides over an area that rilles stranger.

why two recent works Gibellina take a double value: that of their inherent strength, but also to represent two ways to re-set on the urban architecture.

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The first building is Pure Francis and Laura Thermes. Do not deceive the photos were published in many magazines. 'S work is important primarily because it is here and why Gibellina here shows that you can also make the city out of nothing.

The project is called "five squares" in the terminal, a completed and the other not, are real enclosed reservoirs, while the three intermediate-spaced two portals that allow for vehicles to cross-streets are bounded arcades.



Chasing the game of the references of the project (the aqueduct, the ruins, the natural and the artificial garden, the pyramids plantumate etc.) deserves a discussion in itself, as to dwell on ' use Party wise architectural portico in folding frame becomes inhabited by an upper path. Does

dwell on why this project is urban solution: unifies a series of isolated and fragmented with poor sense of new form, quality and rhythm, and creates a credible space for the community-pool and used for projections for the market over- and as a road crossing, can develop a theme without lapses of taste play in the square terminal, captures, finally, that prevailed at the floor through the use preserves the quality of the space without costly maintenance.

course, to be fair, Raffaele played better in the squares of the historic centers that in this Agora. Solving the be -and not just the ' cross - would also be socially desirable, but this work is the only Gibellina, and one of the few in Italy who can not establish scratch-free tracks and take advantage of the wealth of the already-existing components of the public, and evocative monuments of the city. In the determination of the aqueduct of Pure feels the full weight of urbanization Roman also strong, although impressive, even for somewhat insensitive, but absolutely authentic. Also at Pure Gibellina

also built the famous House of the pharmacist - the first work, An architect known until then for his drawings. Home addresses the issue of changes in internal program (entry to the pharmacy, access to housing, parking and garden area) for use as events to characterize the bare city corner where it is located. In front of this house, the Roman architect in building an apartment building developer, such as squares, the theme of the frame that folds. In the nearby Poggioreale, Pure-Thermes are finalizing a church in which they figure contrasts with the more rigorous columns, arches, sculpted busts of the civic center of Paul Portuguese.

Coming Gibellina, the second work that marks a change of course, is the reconstruction Di Stefano of the houses. This is a farm situated in the hills surrounding the new location of Gibellina that, although in ruins after the earthquake of '68 and following a fire, was the only surviving historical memory. Marcella Aprile, Roberto and Teresa La Rocca Collovà have enhanced cultural spaces to contain the system of fences of the settlement pattern (in the Middle Ages designed to withstand external attacks, but later used as a center for organization of large estates).



Center project is the large paved with cobblestones that invaded from the court of the Baglio (the name of the Sicilian farm fortified), it becomes a square. A series of trails bordering the space or merge with other fences of the complex. The first is bounded by a building that contains the services of the outdoor theater and a body straight, everything new, which contains offices, a library, a temporary exhibition room and ends at the fold of the wall that hides a garden. Parallel to the large inner square, the valley opens a terrace bounded by the outer face of the former manor-house offices, apartments and other guest-body and a lower level that will host the workshops. It is a work of re-invention (supported by typological studies on rural home in Sicily and on the memories of the old owner) on the basis of a few pre-existing elements. The result is a microcosm is characterized by the spontaneous development of the overlap of the smaller towns that the regular court system of power landowner.

The walls are plastered in white or light ocher and runs outside a base in polished stone that becomes a figurative element of continuity between the two sides left free to establish an open dialogue with the landscape.

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Leaving the valley of the Belice with these two reversals-the ability to create cities from scratch, the interpretation of an existing by-turn would be enough to overcome the bitterness of otherwise lost opportunity for the Italian architecture. In fact, the departure from the land of Sicily is happy and full of promise when we discover the three works by the Neapolitan Francesco Venezia.

The unavoidable presence of the archaic past and the mystical sense of the building are in the mix lyrically ability to build on the new fragment in the eye of closed-open game, inside-outside, light and shade, artificial and natural materials.

The first work is the theater of Salemi (with April and Collovà) a building consisting of a few things, but of extraordinary intensity. It is located at the abandoned after an earthquake in a town close Gibellina from new and is part of a series of recoveries that would create, starting from the church now destroyed (but the Portuguese architect Alvaro Siza and Collovà catching) an urban park. The ruins, they want to be revalued, used as a source of fascination, of position and echoes. Seem vague and unrealistic assumptions, but which are perfectly captures the feeling when you meet this little theater that opens onto the landscape. We find the theme of the lines under the new walls that are projected across the valley, the use of river pebbles framed by the same stone that forms the walls, that restitched free and poor staff for the new object to the surrounding streets. Even the spare column embedded in the slope-in \u200b\u200bitself a too easy citation-needed look here.

Gibellina too new, at the end of one of many blocks of terraced houses which certainly do not have the tragic evocation of the ruins of the valley, we find another little treasure. It is the "Secret Garden" which develops the theme of the closing Giuseppe Terragni all the outside of the narrow paths of entry by the court system interconnected. But Venice is an architect too inspired to flatten the Danteum (the project that was to be built in Rome in front of the ruins of the Forum). The suggestion is that of an eroded ruins of a roofless house as his obviously expensive, Pompeii. Water, lava stone floors that never touch the walls, the walls now tuff d'Alcamo, hours of reinforced concrete (which is thrown into overlapping bands of different roughness) create the garden. If Pure with its five squares solution gives a strong and determined urban ancient Rome, Venice or here gives an equally poignant, but played on the song of a poet greek.

The theater in Salem and the Secret Garden are two very small chances that hardly can be considered to all effects of real-architecture features are so fleeting and vague, yet it is the deepest layer architecture: architecture made in conjunction with a past recollection (adjective Manfredo Tafuri indicates that the difference between a deep-rooted and easy assimilation memory). But even when

size expands and comes to hosting real-functions in this case a museum-Venezia is able to keep the same tuning fork expression. Indeed, if possible, tap new strings.

We want to finish this survey in Sicily with its new building in Gibellina Di Lorenzo, one of the decisive Italian architecture in recent years.



On the basis of a fragment of the facade of the old town remained standing after the earthquake and transported to the new site, the architect puts in a circle all the reasons we've seen. Quotes from Danteum they meet up again in the narrow paths of entry, as revenue tangential to a guarded secret that rediscovers the old facade of the two orders received in the wall that houses the first floor exhibition hall, and then the spiral path that leads upstairs from the court, on the way that frames and gives depth to the landscape to conduct again across the court room at the sight of "rest" to end the sight of the town mediated by cultivated terraces.

In this work also reveals the lesson in the remake of Carlo Scarpa cha Abatellis palace in Palermo on the island also gave evidence. The sculptures scattered, often detached, scattered Gibellina here have the ability to interact with the architecture and landscape: the Snake Pierjulio Montano that winds through a slit in the hall of the fallen horse and the rest of Mimmo Paladino against the wall outside the upper portion. A symbol of this beautiful-looking horse reason Ball Quaroni continental-which seems to lie in the ruins of the past. It makes you think if the soul of this land, the tragic beauty of the fall and defeat is a condition that you really want to overcome.

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leave the island with the knowledge that you have seen and talked only of avant-garde. A quick look at the growth of cities and towns to watch the real mechanisms at work: the uncritical acceptance of modernity as a tool for industrial rationalization that transforms the usual abuse and interpersonal solidarity of peasant culture in a tools of patronage and corruption. The territory is Cosa Nostra, not in the sense of a common good to be valued, but as embezzlement and speculation in the underworld that large-scale abuse of children through the whole of the island.

But these works show that these architects can also be against. Today may be marginalized, avant-garde lit, but with the awareness that we must rise.

I ask Raffaele, now on the way back, what he liked most of the architecture that we have seen together. The answer - "The sea" - I am disappointed at first. I was hoping at least in ruins, broken columns of Selinunte that gave me the lens to look at these new works in Sicily. But perhaps we are both right. Among the sea of \u200b\u200bthis island and the memory of his temples and on the walkways, between nature and past, between heaven and architecture there is any challenge to all of this.



Certainly an awareness of the specific characteristics (historical, geographical, cultural), but also the exchange, marriage, contamination. Stefano d'Arrigo Tommasi di Lampedusa, Leonardo Sciascia, Elio Vittorini, Salvatore Quasimodo Nobel sicilianissimi and are universal. It is a road that not only the islanders, but also the great Italian archietti that we have seen the work already undertaken.