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L'Edilizia Residenziale Pubblica nell'Italia del Novecento
No full textL'articolo illustra l'evoluzione dell'Edilizia Residenziale Pubblica nel Novecento: dal periodo fascista alla Legge Fanfani e all'istituzione dell’INA-Casa, e poi dal Piano Gescal all’ultimo Ventennio. Il testo evidenzia alcuni dei fenomeni che hanno rivoluzionato il modo di vivere e che hanno aperto la strada alla rivoluzione abitativa del terzo millennio, attenta alle questioni ambientali e sociali, capace di fuggire dalla omologazione dilagante del passato e carattterizzata dalla flessibilità e dall'adattamento ai mutati modelli di vita
Concilio Vaticano II e progetto urbano. Le chiese di San Raffaele Arcangelo e San Giovanni Evangelista a Palermo
No full textTo begin once again a moral and economic duty. Italy, after Second World War: according to Fanfani and Tupini’s laws (1949), INA-casa and its procuring enti- ties’ ventures made a motor of urban renewal from the enthusiasm and the commitment of many entrepreneurs and public administrators. In Palermo, the agricultural lands began to include new neighbourhoods designed as part of the reconstruction after the bombardment of the old city, which had to be restored.
Soon big private capital had been involved also coming from «people until that time unrelated to building entre- preneurship» «many landowners located in the surroun- dings of the historic city sold the farthest part of it, applying a price of “agricultural land” in order to build public housing and infrastructure works. When the value of the crossed and not sold areas increased greatly , they began new speculation plans». Quickly, the new districts merged with the historic centre and with the continuous town of the nineteenth-twentieth century.
In the fifties, between the town and its geographic limits (the mountains of the Corona dei Colli) a ring has been hypothesized. It was also useful to link the new residen- tial peripheral areas. In the sixties, the new roads marked a border beyond and around there were still a lot of citrus groves, vineyards, olive groves, flowers and gardens. In the fields, little rural buildings, warehouses and villas arose. The urban aggregations only were the thin clusters of historic villages.
Among the new neighbourhoods there are the villaggio Santa Rosalia (1951) and the Centro di Edilizia Popolare CEP (1954), where the churches San Raffaele Arcangelo (1959) and San Giovanni Evangelista (1965) have been realized according with the design by Giuseppe Spatrisano (Palermo, 1899-1985). Spatrisano was Ernesto Basile’s student but also a teacher himself at University of Palermo. At that time, among others, he was a protagonist designer and intellectual within the urban transformation. Indeed, the aim to regulate the growth of the city results in the Town Plan started in 1956 by the same Spatrisano with Salvatore Caronia, Edoardo Caracciolo, Luigi Epifanio Pietro Villa and Vittorio Ziino. This plan underwent several drafts before being approved in 1962.
Therefore, the churches San Raffaele Arcangelo and San Giovanni Evangelista are two pieces of a big transformation of the town. At the same time, these architectures show another innovation promulgated by the Church that was renewing itself during the Second Vatican Council (1962-1965).
For these reasons, both the architectures will be described, from a double perspective: from the outside, looking also at the city, and from the inside, considering the liturgical questions.
It is interesting to understand how, in these specific cases, the outer and insider shells of the buildings, result from several external and internal conditions that interact each others in relationships of cause and effect, defining the surrounding spaces.
The choice to compare these two churches comes from some analogies that help to clarify the salient issues on first: the urban design in the new neighbourhoods of Palermo; second: the Spatrisano’s interpretation of the indications by the Church about the design of new places of worship, that was, at that time, the focus of the archi- tectural debate.
The similarities found are not really in the final architec- tural solution, rather in the process of the intermediate configurations. Both planning processes show a cultural change in progress about the relation between “church- context-conciliar reforms” and, therefore, they can help
to know generally Italian churches built since the begin- ning of the sixties.
Giuseppe Spatrisano often cultivated the interest, pre- sent in the Faculty of Architecture of Palermo, to the relationship between the architecture and its context. In 1948, he investigated this issue, for example, through the project of the Nautical Institute of Palermo, where existing and new paths would have to penetrate the buil- ding, shaping it. The school has been designed as urban hinge between three important areas of the city’s historic core: the Cala harbour, Corso Vittorio Emanuele and Via Butera. The outside is an intimate part of the archi- tecture. This happens also in his design for the Casa del Mutilato in Palermo (1935-1937) where, as Gianni Pirrone writes, Spatrisano «through a free interpretation of Hypaethros temple, centralizes and resolve the entire composition of the building in the cella-patio».6 This work, the best known by this author, is a manifesto of belonging to the Rationalism; it represents abandonment of the nineteenth-century language and of the traditional stylistic elements, from which, nevertheless, Spatrisano is always fascinated, as the historical and neorealist refe- rences of its last architectures show.
In fact, in the years immediately following the war, he preferred rigid blocks, continuous curtains-wall and por- ches, agreed with his colleagues Bonafede, Gagliardo, Ziino for the Nautical Institute and with Epifanio, Santangelo and Ziino for the New Way of the Palermo Harbour (1949). But a few years later he applied slight distortions to the volumes, emphasizing the differences between the parties.
In the sixties, his choice of a neorealist architectural language can be partly attributed to the tasks commissioned him in that period. The Nautical Institute or the Casa del Mutilato were silent and sometimes repetitive architectures that perfectly integrate within the complexity of the existing urban fabric. Instead, the new suburbs of Palermo, where Spatrisano is called to work, at that time arose in the countryside, out of the solid mass of the old town and out of the ordinate nineteenth century expansion
Il Sacro e il Tempo. Permanenze e trasformazioni nell'architettura
No full textIl saggio affronta il tema delle permanenze e delle trasformazioni nelle architetture sacre e le relazioni tra esse e le architetture civili. Archetipi, invarianti tipologiche e riutilizzi di architetture pagane per ritualità sacre vengono analizzate attraverso architetture esemplari del Mediterraneo, selezionate tra esempi che vanno dall'antichità sino al contemporaneo. Il saggio esplora le contaminazioni e le influenze reciproche che le culture del bacino del mediterraneo e le differenti fedi religiose hanno prodotto nei secoli, generando opere il cui carattere di stratificazione costituisce una delle cifre prevalenti. Una metamorfosi dell'architettura, segnata da una continuità nella trasformazione, in cui ritualità religiose, pratiche costruttive e istanze sociali si sono spesso addensate negli strati di uno stesso edificio
I concorsi del '68 per le nuove chiese a Palermo
No full textNegli anni Sessanta l’espansione di Palermo dal centro verso le periferie è già iniziata. Fin dai piani di ricostruzione all’indomani della guerra, la nascita dei quartieri di edilizia residenziale pubblica conferisce alla città un nuovo volto, cingendo interamente il nucleo antico e modificandone la crescita che, dal piano Regalmici, aveva visto nell’asse di via Libertà e quindi nella direzione nord la direzione preferenziale di sviluppo. La crescita pluridirezionale è accentuata dal Piano Regolatore del 1962, che individua da nord a sud otto macroaree di espansione lungo la traccia della nuova circonvallazione. Due concorsi aprono la nuova stagione dell’architettura religiosa a Palermo; il primo è quello per la Chiesa della Madonna di Pompei, del ‘67-‘68, in località Bonagia, il secondo è quello per la Nuova Chiesa di San Francesco d’Assisi, del ‘68-‘69, in zona Malaspina. Entrambi segnano, sin dalla scelta dei luoghi, la precisa volontà di esprimere un atto fondativo nelle nuove periferie di Palermo. Un decennio dopo i piani di edilizia economica e popolare e i nuovi quartieri residenziali, i due concorsi nazionali banditi dalla Curia Arcivescovile di Palermo rappresentano la volontà definitiva di riconoscere in questi nuovi nuclei insediativi una comunità; appunto, un’Ecclesia.In the Sixties, Palermo expansion from center towards its suburbs has already started. Since the reconstruction plans, after World War II, public social housing districts give the town a new image, entirely ringing the ancient core and changing its growth, that, since Regalmici Plan, had seen its primary development direction in the axis of via Libertà and, therefore, towards the north. Its multidirectional growth has been emphasized by 1962 town planning, identifying eight expansion macro-areas from north to south, down to the new ring road. Two competitions get off the new season for the religious architecture in Palermo; the first is for the church of Madonna di Pompei, in the 67-68, in Bonagia, the second is for the new church of San Francesco d’Assisi, of 68-69, in Malaspina. Both of them signed, since the choice of places, the precise will of a foundation act in the new suburbs of Palermo. A decade after the house building plans and the new housing districts, the two National competitions announced by Palermo Diocesan Administration represent the final willing to see in these new settlements a community: a real “ecclesia
Ronchamp: dalla stalla di Gut Garkau alla moschea di Sidi Brahim Ronchamp: from Gut Garkau stable to Sidi Brahim mosque
No full textNel percorrere itinerari storici, apparentemente opposti, da una parte all'interno del Movimento Moderno e dall'altra attraverso lo studio delle moschee di El Atteuf (Algeria), si riscontra un punto di intersezione conosciuto ma inaspettato: la cappella di Ronchamp di Le Corbusier. Ronchamp dimostra come impossibili o quanto mai arbitrarie siano le catalogazioni di un’opera del genere, la quale può essere considerata sia come momento di sintesi del moderno (e non soltanto del Movimento Moderno), sia come trait d’union fra due diversi mondi, l’islamico e il cristiano, integrati spesso soltanto all’interno di un rapporto di forza che ha visto prevalere, a seconda dei tempi, l’uno o l’altro senza raggiungere mai un pacifico equilibrio.
Ronchamp frantuma e ricompone le sintesi storiche che hanno costruito il mito del Movimento Moderno, ed esplicita, indipendentemente dalla volontà del suo autore, quelle esperienze progettuali-culturali rimaste abbagliate e quindi soffocate dalle risplendenti architetture bianche degli anni ’20-’30 progettate, per ironia della sorte, dallo stesso Le Corbusier. Per tali ragioni Ronchamp non solo è capace di catalizzare molte delle poetiche della modernità ma soprattutto concretizza la forza del progetto di architettura che riesce, a discapito di qualsiasi classificazione spazio-temporale, a richiamare eventi lontani e ad anticipare e a esplorare temi futuri.In apparently opposite historical itineraries, on the one hand within the “phantom modern movement” and on the other one through the study of the El Atteuf mosques, you can find a well-known but unexpected intersection: the Chapel of Ronchamp by Le Corbusier.
Ronchamp shows that cataloging similar work is impossible or arbitrary. The chapel is both a moment of synthesis of the modern (and not only of the modern movement) and a link between Islamic and Christian worlds that have been often integrated each other without a true balance.
Ronchamp breaks and reconstructs the historical synthesis that built the myth of the modern movement. It shows, regardless of the will of its author, the cultural and design experiences dazzled and suffocated by the glowing white architecture of the 1920s 1930s designed, ironically, by the same Le Corbusier. For these reasons Ronchamp not only catalyzes many poetics of the poetics of modernity, but also it realizes the power of the architectural design that can, out of any space-time cataloging, recall distant events, anticipating and exploring future topics
Lo spazio della chiesa tra soglie e declinazioni del vuoto
No full textGli assunti liturgici derivanti dal Concilio Vaticano II pongono una particolare attenzione sulla spazialità interna dell’edificio cultuale, strettamente relazionata al modo di essere della comunità di fedeli che al suo interno si raduna e da esso è rappresentata. Il progetto di uno spazio liturgico manifesta con chiara evidenza il processo conflittuale che è proprio dell’architettura, un processo che esalta vicendevolmente i termini in gioco motivandone l’intima essenza e dove il rapporto tra la corporeità (con i suoi diversi livelli fisici e simbolici) e la spiritualità dovrebbe definirsi come un riferimento costante rispetto a cui azione, condivisione e partecipazione convergano nella conformazione spaziale dell’insieme, concretizzando così il rapporto tra immanenza e trascendenza attraverso la coscienza dell’azione.
In questo saggio s’intende verificare come, nella composizione della chiesa contemporanea, l’accezione semantica di vuoto “attivo”, quale spazio di relazione tra uomini e cose, possa assumere una particolare accezione nella trascrizione architettonica di gran parte dei principi attorno a cui conformare gli spazi cultuali, in maniera che essi siano coerenti, stimolanti e rispondenti alle richieste liturgiche.The space of the church between thresholds and declinations of void
The considerations on the liturgy resulting from the Second Vatican Council put an emphasis on the interior space of the building of worship, closely related to the mode of being of the community of believers who gather in it and that is represented by it. The project of a liturgical space manifests by clear evidence the conflictual process that is precisely in the nature of the architecture: a process that enhances each other the terms in game and in which the relationship between corporeality (with its different physical and symbolic levels) and spirituality should be defined as a constant reference with respect to which action, sharing and participation converge in the spatial conformation of the whole, thereby making concrete the relationship between immanence and transcendence through the consciousness of the action.
This paper aims to examine how, in the composition of the contemporary church, the semantic sense of "active" emptiness as an area of the relationship between men and things, can to assume a particular meaning in the transcription of most of the architectural principles around which to conform spaces of worship, so that they are consistent, in stimulating and satisfying the demands of the liturgy
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Lo sguardo del sacro sul mare - The Sacred overlooks the sea
No full textIl saggio è inserito nella seconda parte del volume, intitolata "Mediterraneo, contaminazioni e influenze", esamina la capacità delle forme arcai-che e archetipiche dello spazio sacro di lasciare tracce della propria esistenza, mescolandosi e incrociandosi, nella costante, ciclica creazione di un nuovo ordine, che trova alimento nelle differenze e nelle peculiarità delle diverse realtà storiche e religiose, arricchendosi di intrecci trasversali e impuri che accomunano le culture architettoniche occidentali a quelle orientali del mare nostrum. In particolare affronta il tema del paesaggio delle isole Eolie ortemente connotato dalla presenza delle chiese e dalla loro ubicazione sul territorio. La posizione strategica delle isole, sul mar Mediterraneo, ha in prima istanza determinato nel tempo incursioni da parte di piraterie, essendo sedi determinanti per le dominazioni che si sono succedute. Per esempio «nel 1544, quando la Spagna dichiarò guerra alla Francia, il re francese Francesco I chiese aiuto al sultano ottomano Solimano il magnifico che mandò una flotta comandata da Khayr al-Din Barbarossa, che fece rotta sulle isole Eolie e le attaccò uccidendo e deportando i suoi abitanti». Le chiese pertanto, unici “monumenti” delle isole, rispetto alle case diventano dei veri e propri marcatori territoriali. Sono sui porti o sui promontori (ma sem- pre affacciate sul mare) e si presentano decisamente differenti dalle abitazioni per loro stessa caratterizzazione tipologica e volumetrica.
Infatti sempre, in ogni approdo, le chiese svettano rispetto alle minute case sparse irregolarmente. La loro posizione, tranne le chiesette isolate nelle campagne, guarda strategicamente il mare e lo “benedice” essendo questo, attraverso i suoi frutti, la fonte principale del- l’economia eoliana insieme all’agricoltura. Il “sacro” benedice i suoi frutti e protegge i suoi pescatori.The Eolian landscape is characterized by the presence and peculiar location of its churches.
Because of their strategic position in the Mediterranean Sea, the Eolian Islands have been attractive to pirates of all time, indeed under all dominations. For example, «in 1544, when Spain declared war against France, Francis I, King of France, requested help from the Ottoman sultan, Suleiman the Magnificent, who sent a fleet headed by Khayr al-Din Barbarossa. The ships attacked the Eolian Islands, whose inhabitants were either killed or deported». That year also marked an important date for both the transformation of Eolian architecture, especially that of the now destroyed or burned to the ground churches, and the repopulation of the territory with subjects from diffe- rent places and cultures in the Mediterranean basin. This was mostly «supported by Spain’s administrators who lured many people into repopulating the area through several types of benefits».
It is precisely this exchange of different cultures that would then characterize the distinctive Eolian architecture
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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