1,723,788 research outputs found
New materiality in the project of small architectural devices for exhibition set-up: a research experience between conception, language, perception and construction
No full textThe space set up in a trade show becomes a domain of consideration of the project as linked to the new way of relating to the art of exposing objects and to the ability to transmit the company’s brand through an expressive language that could reveal the emotional value of a certain concept. This domain of intervention, which has its or- igins in the interior design and in the temporary exhibition set up sectors, represents a peculiar field of experimentation and research where the designer is called to re- think the project for the new forms of trade exhibition market. The point is thinking about a project that, for a temporary event, should be carried out as a performance; a theatrical representation offering the opportunity to occupy the scene in an engag- ing way while interpreting the current ‘mood’ (Bramston, 2010).
New ways of setting up are therefore possible, and they can generate different ways of relating to space with an original project approach in the ‘exhibiting’, interpreting an expression ‘moodboard’ in an active, creative, empathic, emotional, flexible, and changing environment adapting to the possible formal implications linked to the var- ious needs of a company and market demands. This last sector is always more inter- ested in an ever growing need for optimization of the economic resources and it re- quires new outfitting expressivity aiming to obtain the most with the least resources available, for a rapid temporary event.
The set-up project is then featured as a small architectural ‘device’ marked by a strong chameleonic concept feature, able to adapt to the possible shapes of spaces and rooms in the trade show pavilions and express a constituent and versatile language with a strong communicative feature (Vitta, 2001). A device that becomes a ‘display’ of al- ternative languages to reproduce multiple meanings, often perceived as personal com- munications for those who make use of it. The configurations of the outfitted spaces are the result of unconventional project strategies which express, through a collage of highly aesthetic figurative/constructive solutions, a simple language which is also evanescent, surprising, persuasive, seduc- ing, and engaging so as to establish an empathic link between the users and the in- stallation (Norman, 2004). Therefore, this is about simple constituent bricolage exer- cises that follow the collage principles, in which different images/solutions are put in contrast and can be clearly identified. Through constituent processes of addition, in- tegration, and insert, it is possible to obtain various light expositive devices through the repetition of simple and cheap building solutions (Maeda, 2006). Most of the time, the innovative feature of the expositive stands does not reside in the detail designed for each project nor in the use of performing materials, but in the designer’s creative ability of simply and freely combining standardized systems, semi-finished materi- als, and industrialized components available on the market.
The possibility to combine the expositive stands drags the visitor’s attention to the way’s materials are produced and the products are ‘described’ and ‘narrated’.
The outfitting structures want to generate a new modality of fruition/exposition/per- ception by the users. This modality should not be confusing, but reassuring, trying to set up a univocal vision of the exposed objects, shaping a flexible expositive path that can be personalized and adapted to the different modalities of ‘discovering’ the ob- jects. The exhibition modalities, conceived to produce interest, awaken curiosity, and create empathy in the users can trigger an interaction between the work and the ob- server in order to define an interactive path/visit.
The paper wants to bring back the research activity with the aim of experimenting a new expositive/project/communicative modality as an instrument of knowledge and experimentation, able to
generate a figurative/formal/constructive new language expressing the ability to com- municate/show/expose in the rapidity of a temporary event, where everything must be carried out in a specific context1. (1
La dimensione attiva del progetto. Strategie di allestimento e re-design dello spazio pubblico
No full textGli effetti collaterali e non transitori del lockdown dovuti alla diffusione del Covid-19, che hanno improvvisamente ammutolito e desertificato i nostri centri urbani, portano oggi a riflettere sul futuro delle nostre città in termini di spazio pubblico da abitare.
La condizione di crisi sanitaria, sociale, politica ed economica prodotta dalla pandemia, se da un lato ha messo a dura prova le nostre città e la qualità della vita in generale, dall’altro ha generato una maggiore consapevolezza per ripensare strategicamente e velocemente la porosità dello spazio pubblico da riqualificare, definendo azioni e pratiche urbane temporanee e inclusive per garantire nuovi servizi e attività nei luoghi della collettività.
Nell’attuale momento di incertezza e di attesa per il ritorno ad una nuova normalità, ‘la dimensione attiva del progetto’ è in grado di offrire un’opportunità per innescare nuovi interventi ‘collettivi’ rigenerativi sostenibili di tipo pop-up, che prendono vita dai vincoli dettati dal contesto e dalle condizioni estreme al contorno. I luoghi vengono trasformati con azioni strategiche temporanee attivate da gruppi multidisciplinari mediante processi bottom up e progetti top down che si caratterizzano nello scenario internazionale per inclusività sociale, semplicità attuativa, dimensione ‘micro’, carattere ‘play’, immagine informale e aspetto costruttivo low-profile.
Il saggio riporta alcune sperimentazioni progettuali di tipo pop-up, realizzate negli ultimi anni prevalentemente in ambito europeo da collettivi di designer attivisti del cambiamento e da gruppi di progettisti operanti sul territorio nazionale italiano, nelle quali si possono individuare azioni strategiche ‘leggere’ di allestimento e di re-design dello spazio pubblico. Le modalità di intervento di questi progetti possono divenire riferimento nelle azioni di riqualificazione dei luoghi collettivi, conciliando la sicurezza con i bisogni di socialità, convivialità e fruizione, per offrire una ‘seconda vita’ ai luoghi di scarto e di margine.
Gli spazi di ‘soglia’, intermedi e privi di un disegno compiuto all’origine, possono essere ri-abitati in piena libertà dai singoli individui che si riappropriano in modo ‘informale’ dello spazio pubblico, sentendosi parte di una comunità più ampia, sempre più consapevoli del valore del bene comune. I luoghi della collettività hanno così la possibilità di trasformarsi in spazi effimeri di sperimentazione progettuale, da ‘allestire’ e non da ‘costruire’, ‘aperti’ alla condivisione e ‘flessibili’ all’interazione sociale
La rivisitazione del progetto. Una sperimentazione didattica sul processo costruttivo dell’edificio
No full text
The New Technological Paradigm in the Post-digital Era. Three Convergent Paths Between Creative Action and Computational Tools
No full texthe current evolutionary situation of the post-digital era is influenced
2 by a scientific research based on an almost unconditioned technological positivism
3 and requires a more agile a flexible built environment, adapted to the unpredictable
4 changes and transformations of our planet. The building sector is going through an
5 important evolutionary phase, mainly characterized by the use of new digital tech-
6 nologies which have considerable impact on the organizational dimension of the
7 design and implementation, in order to adopt innovative solutions with the least
8 environmental impact. While the architect is replaced by machines in the worksite,
9 the use of digital technological instruments needs a new approach toward the project
10 and the building procedures. Within this change, the draftsman, besides engaging
11 with multidisciplinary specialized skills ranging from computational engineering to
12 biotechnologies and neuro-sciences, has to be proactively able to control the current
13 space, time, and technological processes which are offered by evolved and complex
14 computerized instruments. These go beyond formality to create new constructive
15 realities, which are being experimented. The inorganic computational instruments of
16 the post-digital era afford the “Total Designer” a new opportunity to rethink compo-
17 sition not only in terms of productivity and efficiency but to also gain a deeper under-
18 standing of empathy and experience. It is pertinent in this situation to consider the
19 possible convergence between design thinking and technical thinking based on the
20 development of digital algorithms. With the help of some research and case studies,
21 this contribution analyzes the relationship between creative action and computa-
22 tional instrument through three main directions—representation/simulation, commu-
23 nication/perception, and manufacture/materialization—that encompass the essential
24 elements characterizing the role of the designer, a draftsman that is not only aware
25 but sensitive to modern technology
Multifunctionality in Agriculture. New Productive Paths in the Primary Sector.
No full textThis paper focuses on alternative productive paths in the primary sector in the framework of the transition from a farm business development model to a multifunctional paradigm. Analysis will be made of the connection between the rural world and tourism in the framework of European Union regional policies, along with the meaning of healthy local food as conceived by the rural tourist as a symbolic link to the culture and heritage of the holiday destination. Thus our focus will be concentrated on a special type of the tourist experience such as fishing tourism as managed in the Apulian coastal areas, in South Italy, a typology fully encompassed by multi-faceted activities related to the primary sector. The paper will point out how alternative rural tourist networks can enhance sustainable development paths especially in lagging areas within the framework of rural regeneration and endogenous dynamics as highlighted in local food system literature
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