1,721,022 research outputs found
Archaeology as a strategy for an urban project
No full textThe streets of Pozzuoli, a small city near Naples, contain fragments and traces of the ancient road layout as signs that gave the possibility to researchers to reconstruct its history. The presence of these signs needs now to emerge and become guide for a contemporary design project. The city of Pozzuoli is too fragmented and tampered. The infrastructure that makes possible the mend of all shreds and torn parts of the urban structure working in a thorough and specific way (that these fragile contexts require) is the space of the street. We made a research project to define a new urban strategy. A public path anchored on five fixed points: the Temple of Neptune, the Flavian Amphitheatre, Villa Avellino with its tanks, the Collegia of Tibicines and Rione Terra. The goal for the project is the construction of a strong public pedestrian path that has to be incisive in the construction of the atmosphere and character of the city and able to connect public spaces of the city with the archaeological sites to guide both locals and tourists with clarity and logical evidence. The result is a project of the ground where the street represents the permanent element and the founding fact of the city. The archaeology as a pretext of the project of the street and then not as an end. The most important project reference was the street of the Acropolis in Athens by Pikionis, where the ground speaks the same language of the architecture of the city. Rem Koolhaas said “the street is dead"(Koolhas, 1995), we strongly oppose "the street is still alive", thanks to the presence of archaeology which with their physical presence are a silent reminder: building on the existing is the only possibility to save the authentic atmosphere and characters of the city
Archaeology as a strategy for an urban project
No full textThe streets of Pozzuoli, a small city near Naples, contain fragments and traces of the ancient road layout as signs that gave the possibility to researchers to reconstruct its history. The presence of these signs needs now to emerge and become guide for a contemporary design project. The city of Pozzuoli is too fragmented and tampered. The infrastructure that makes possible the mend of all shreds and torn parts of the urban structure working in a thorough and specific way (that these fragile contexts require) is the space of the street. We made a research project to define a new urban strategy. A public path anchored on five fixed points: the Temple of Neptune, the Flavian Amphitheatre, Villa Avellino with its tanks, the Collegia of Tibicines and Rione Terra. The goal for the project is the construction of a strong public pedestrian path that has to be incisive in the construction of the atmosphere and character of the city and able to connect public spaces of the city with the archaeological sites to guide both locals and tourists with clarity and logical evidence. The result is a project of the ground where the street represents the permanent element and the founding fact of the city. The archaeology as a pretext of the project of the street and then not as an end. The most important project reference was the street of the Acropolis in Athens by Pikionis, where the ground speaks the same language of the architecture of the city. Rem Koolhaas said “the street is dead"(Koolhas, 1995), we strongly oppose "the street is still alive", thanks to the presence of archaeology which with their physical presence are a silent reminder: building on the existing is the only possibility to save the authentic atmosphere and characters of the city
The Denied Loggia of Naples
No full textThis essay explores the vicissitudes of one of the few examples of contemporary architecture in the historical tissue of Naples. The troubled story of the Mercatino by Salvatore
Bisogni and Anna Buonaiuto tells of a time when ideologies strongly influenced architectural form and its perception, while the designs were often detached from the real needs and necessities of the inhabitants. Through the praise of the critic and the disdain of the citizens, the Mercatino still emerges as one of the most significant episodes of post-war architecture in Naples
Abitare il centro antico di Napoli
No full textNel centro antico di Napoli le sedimentazioni del tempo e quelle dell’uso hanno permesso che un continuo rinnovamento del costruito ad opera della vita si opponesse alla sua obsolescenza. Un processo permanente ha dato forma alla città e continua a farlo oggi, caratterizzandosi per una dicotomia capace di trasformare differenze e contrasti in vitalità. Nonostante l’incapacità dei tempi nuovi di salvaguardare la dimensione pubblica della città e della comunità di rinnovare e ridefinire la sua appartenenza alla città, la struttura e le relazioni spaziali e morfologiche del centro antico si sono preservate e sono riuscite a sostenere, comunque, al suo interno l’abitare supportando un continuo processo di rinnovamento. Il saggio analizza la confluenza delle architetture verso la struttura urbana ed indaga quelle relazioni tra gli abitanti, il costruito, gli spazi aperti e la natura che hanno reso nel tempo questi luoghi capaci di rispondere a sempre nuovi bisogni e mutevoli condizioni conferendo loro forti caratteri identitari ed un continuo e reciproco sostegno alla sfera domestica ed a quella civica. Viene così disvelata quella particolare dialettica tra continuità e trasformazione che caratterizza il continuo rinnovarsi del centro antico a partire da un nucleo che permane
The authenticity of the urban memory
No full textOur relationship with the past and its remains has always been a difficult and controversial issue, however it is also a necessary part of human progress and intrinsic to the continuity of mankind existence. We had to recognize that memory is the mother of all ideas, thanks to its ability to determine forms of temporal and spatial continuity. Cicerone in Ad Brutum said “Nescire quid ante quam natus sis acciderit, id est semper esse puerum.”
The urban memory is the main characteristic of a civilization and through it the city itself is ever built: violent, tragic or heroic facts are remembered with monuments while the flow of life is transformed in everything else of which is made a city.
The archaeological sites made of buildings that have lost their original function, objects of pure matter and space, have a double meaning: a monumental one, as monuments of themselves, as architecture evocative of a gone life, and a potential one, as carriers of physical elements that strongly characterize the space contained in them, able to enclose unique and unrepeatable atmospheres.
Starting from these theoretical considerations we worked on a case study about the city of Pozzuoli as result of a Research project of national interest (PRIN 2009, Italian Ministry of University and Research) called "Landscapes of archeology, regions and metropolitan cities": the archaeologies of Pozzuoli are objects in the built urban landscape without any sensible quality. The goal for the project is the construction of a strong public pedestrian path that has to be incisive in the construction of the atmosphere and character of the city, able to connect public spaces of the city with the archaeological sites to guide both locals and tourists with clarity and logical evidence. Archaeologies represent a silent heritage but at the same time silent admonition: to keep building on the existing is the only salvation of the city for the city and for mankind
Gli esercizi del collezionista
No full textEdgar Allan Poe’s essay of 1846, The Philosophy of Composition, for the first time in the literary culture, goes through the folds of a slow exploration of the compositional process: crossing and cutting parts and marginalia of the poem The Raven, the author decides to reveal both the poetic idea and the main effect he wanted to achieve; as much as the tools used, the poetical moves put in place, with a number of possible alternatives, as in a mathematical problem. In searching for the elements of composition, to understand how to combine them, the control on the bricolage method has to be maximum: one needs to know the potential of each fragment and the final effect of each echo part combined. Even the design project, when called to describe its process, expresses the authentic intentionality of the architectural form. Aldo Rossi, within the pages of Quaderni azzurri, clearly recalls the power of the process of decomposing and rebuilding an object to communicate its internal rules. Through this expedient, he explicates how the processual phases of composition could take over the project. The design project emerges as a coordinated system of choices, a machine that can be unveiled and decomposed. The exercises – drawings, models, diagrams, collages – carried out over two classes of Architectural Theory at the Department of Architecture of the University of Naples “Federico II”, focus on architectural buildings of the last sixty years. They express the need for looking closely at the mechanism to read some of their specific conditions and compositional operations put in place. A collection of fragments that can be read and returned to reverberate the attitude of the collector – the intérieur – who lives in things jealously guarded
Found/Lost in translation. Translating procedures as conceptual tools for the project of architecture
No full text
Found/Lost in translation. Translating procedures as conceptual tools for the project of architecture
No full textPonència presentada a la sessió 4Every new architectural project expands an evolves archive of references which can be said to be virtually infinite.
In the universe of the project – in the cyclicity of its process – we continually are witness of appropriation practices
of what is already done which open a wide spectrum of mimetic approaches – from vague allusion to quotation –
that are necessary and effective to the determination of the figures of the architecture project.
Working with references means knowing, possessing, changing them, coming «at the thresholds of compositional
creation» according to Ernesto Nathan Rogers (Rogers, 1963); the techniques of such appropriation can be very
extensive ranging from the indirect quotation to authentic operation of pick-up-and carry: inside the architectural
project the transmission and transformation of forms between different places and times can be seen as an
architectural translation where «things can be bent, broken or lost in the way» (Evans, 1997). So the in fieri project
can be seen as a constant work on previous texts, a translation mode: this act of rewriting always implies a
transformation. The geographical circulation of models, languages and techniques is always a process of translation
that directly involves the architecture and is reflected into the project from the most elusive interactions to true
cultural transfer, or rather the set of relations that comes to establish between different geocultural areas and that
allow to outline the on-going changes.
If you assume that each architectural project is a derivative of a text deemed original, from translations of
translations have led to a formal sequence where gradually changed repetitions specifies their traits over time, it is
possible to read some of the sub translative species.
Adaptation, calque, compensation, loan and so on (Vinay and Darbelnet, 1958), procedures borrowed from wellestablished
translating practices could become, for an architect, ways of establishing distance relationships with
analogous elements and links between distant episodes in space (and inevitably over time) to celebrate the
transversal complex relations that characterize the built environment.
The aim is to investigate the ways to decline the role of reference in the design project processes assimilating as
hypothesis of research the affinity of the compositional to the translational process not in the
reading/drafting/review structure typical of the translator, but as a “grammar of options” among different
translation procedures (calque, borrowing, transposition, modulation etc.) as tools to understand also the
architectural translation, far from quotation, copy-paste mechanisms and so on. The interest does not lie in the
object studied, but rather in the activity that produces it. Every building, like every literary text with its translations
«speaks to us not only of himself, but of all the others he represents a transformation and helps us to understand
those aspects that, considered in isolation, are not showed». (Martì Aris, 2006
- …
