1,721,108 research outputs found
Authenti- City: a Project of Militant Design,
No full textThe paper describes the state of progress of the work presented at X Forum. It aims to identify the general indications for the militant design project which will be carried out in the market area of Porta Nolana in Naples. The theoretical basis of the project owes much to the ideas of Denis de Rougemont and the work of other personalists. It is also influenced by a series of case studies that refer to the practices of so-called spontaneous urban planning and, above all, to self-design as defined and practised by Enzo Mari in the 1970s. The design proposal is known as AuthentiCity, in which the notion of authenticity refers to its original etymological roots, namely being in control of oneself and thus responsible for one’s own actions. In this context, the Greek etymology is interesting because the word ‘authenticity’ derives from αὐθέντης, i.e. author, the person who acts by him or herself and has authority over him/herself. Further references in the text underline the importance of multiple stories linked to the search for the spirit of places, such as the importance of objects - defined as relational devices - and as a contrast to official history which requires the carelessness of the interlocutor at least as much as the global market requires ignorance. The proposal related to the market area of Porta Nolana therefore involves a series of actions regarding both socio-economic management and the production of endogenous objects, through participatory workshops where knowledge-sharing is free
Urban devices. The representation of the urban landscape and scenarios of endogenous transformation
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Interaction of color scheme and noise in the metro interior. Multisensory evaluation and subjective testing
No full textAURA_ A MEDIA DEVICE FOR NEW NARRATION SPACES IN MUSEUM CONTEXTS
Full text linkThe long months of social distance to which the pandemic has forced us have certainly accelerated the idea that the remediation of the concept of distance in a digital horizon can open up new spaces of negotiation for many social and cultural
practices in the future. But it has also, dramatically, highlighted the limits and risks contained in the very idea that the
experience of the meta-universe can really do without the mediation of physical reality and human direct intervention. The
reflections and design experience proposed here therefore aim to reflect on the role that the new technologies and traditional
professionals are playing in relation with the phygital cultural experience. The idea of the contemporary museum is indagated,
questioning, however, the quality of the 'relationship' between the work of art and the user and the ways in which design can
respond creatively to the demand for cultural consumption by activating new processes of attribution of meaning
Comparing Fashion and Architecture: Languages, Techniques and Design Strategies
No full textOver the centuries, fashion and architecture have established themselves as rele-vant expressions of thought, both historical and cultural, united by a continuous search for innovative and aesthetic solutions, which have continuously tried to find adequate answers to society's needs and desires. In the contemporary world, collaborations between architects and fashion designers are numerous and have carried the research and experimentation of the two sectors beyond traditional boundaries.
In particular, since the 1980s, the combination of fashion and architecture has been the subject of many initiatives, focusing on common themes and differences, such as the “Skin + Bones” exhibition held in 2008 in London, which is one of the most successful cases in interpreting the similarities between the two worlds. In particular, two themes emerge that can be declined in parallel for both: the first is related to the categories of design thinking, the second to the techniques of real-ization for the production of artifacts.
As part of this exhibition, the works of architects and fashion designers have been subdivided according to the interpretation of common concepts and are therefore arranged according to categories of thought and techniques of realiza-tion. By means of a concise analysis of some of the themes dealt with in the exhi-bition, this contribution aims to draw attention to the different design declinations that represent common thoughts that profoundly connect fashion and architecture in their conception
Inquadrare è distruggere? Lo sguardo bellico e il suo doppio / Framing is destroying? The warlike glance and its double
No full textCASEMATTE E PILLBOX HANNO RAPPRESENTATO, DURANTE IL SECONDO CONFLITTO MONDIALE, GLI ELEMENTI PRINCIPALI DI UNA STRATEGIA DI CONTROLLO DEL TERRITORIO CHE SI FONDAVA INNANZITUTTO SUL PRESIDIO VISIVO E, DUNQUE,
SULLA POSSIBILITÀ DI ‘VEDERE SENZA ESSER VISTI’. LA PUBBLICAZIONE,
QUALCHE ANNO FA, DI UNA PUNTUALE RICOGNIZIONE COMPIUTA DALLE ATTIVITÀ
DI CONTROSPIONAGGIO INGLESE, SULLA DIFFUSA PRESENZA DI QUESTI PRESIDI BELLICI IN CAMPANIA SUL FINIRE DEL 1943, HA COSTITUITO IL PRESUPPOSTO
PER UNA INDAGINE SU QUESTI SINGOLARI OGGETTI AL TEMPO STESSO ARCHITETTURE E DISPOSITIVI VISIVI, ALLA RICERCA DEL LORO VALORE IN TERMINI DI ESPRESSIVITÀ DEL LINGUAGGIO ARCHITETTONICO E DELLA LORO CAPACITÀ
DI APRIRE LA RIFLESSIONE SULLE ‘TEORIE DELLO SGUARDO’ CHE HANNO ATTRAVERSATO IL ‘900.DURING THE SECOND WORLD WAR, CASEMATES AND PILLBOXES REPRESENTED THE MAIN ELEMENTS OF A CONTROL STRATEGY OF THE TERRITORY WHICH WAS
BASED, FIRST OF ALL, ON THE VISUAL GARRISON AND, THEREFORE, ON THE
POSSIBILITY OF ‘SEEING WITHOUT BEING SEEN’. THE PUBLICATION, A FEW
YEARS AGO, OF A PRECISE SURVEY CARRIED OUT BY THE ENGLISH COUNTERESPIONAGE
ACTIVITIES, ON THE WIDESPREAD PRESENCE OF THESE WAR GARRISONS IN CAMPANIA AT THE END OF 1943, WAS THE BASIS FOR AN
INVESTIGATION OF THESE UNIQUE OBJECTS AT THE SAME TIME ARCHITECTURES
AND VISUAL DEVICES, IN SEARCH OF THEIR VALUE IN TERMS OF EXPRESSIVENESS
OF THE ARCHITECTURAL LANGUAGE AND THEIR ABILITY TO OPEN THE REFLECTION ON THE ‘THEORIES OF THE VISUAL GLANCE’ THAT HAVE CROSSED THE ’900
Representing Urban Landscapes. Narrative and Sensemaking,
No full text"The paper seeks to offer some observations about the relationship between the complex connectivity of contemporary reality and communications strategies by seeking a field for reflecting on issues of the representation of the city within the general theme. . Representing the city has always meant ‘presenting it’’ using visual systems that can capture its identity and transform it into an image. The state of the contemporary city makes this work more complex and suggests new forms of representation that take account of change and represent the complexity of experiencing a situation in constant flux. It is therefore crucial to abandon ‘assertive’ approaches towards viewing the city, and put forward new and multiple ‘perspectives’ which can create narrative schemes by weaving together individual stories, urban tactics, temporary uses and descriptions of places. Like modern-day flaneurs, these new perspectives should focus on experience rather than interpretation. They involve creating dynamic maps of a discontinuous present created through forms of listening and the production of communicative artifacts which are not always conventional but are capable of re-orienting the exploration of places and promoting strategies of signification and possible future uses. .
Narrazioni analogiche e digitali: esperienze phygital negli allestimenti contemporanei. Analogue and digital narratives: phygital experiences for contemporary museum exhibitions.
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