121 research outputs found
“The victorious provisional architecture.” Conservation issues in the history of exhibitions and exhibition spaces in twentieth-century Italy
No full textThis essay reflects on historical research on the design of temporary exhibitions in Italy in the twentieth century, emphasizing the value of archival research. These provisional arrangements leave only drawings and photographs as memories. Two avenues of research are explored here: the journal Progex (1989-1994), edited by Giampiero Bosoni and dedicated to various themes of exhibition design, and the 2010 website “Exposizioni.com” a virtual museum of Italianexhibition design, supported by the Franco Albini Foundation and ASAL. These efforts underline the importance of project archives in reconstructing the history of exhibition design, a key field for architecture and design in Italy
Multidisciplinary Aspects of Design. Objects, Processes, Experiences and Narratives
No full textThis book is the result of a long research process. The work started in 2020 with an
exhibition held in Parma (Design! Oggetti processi esperienze, CSAC Università degli
Studi di Parma), and a book of the same title, edited by F. Zanella (with essays by
G. Bosoni, E. Di Stefano, G.L. Iannilli, G. Matteucci and R. Trocchianesi) and published
in 2023 (Electa Milano) centered on the role of archives as memory repositories
and agents for contemporary design. This first period of reflection was followed by an
international conference: Design! O.P.E.N. (https://www.designopen.it) held in Parma
on May 5–6, 2022. The present volume contains most of the papers presented at the
conference
For a novel and transversal narration of extemporaneous places of artistic and design thinking. The city network of crossroads between art and design: the milanese case in the 20th century
No full textMany public places in our cities, such as cafés, restaurants, dairies, theatre foyers, wine bars, brothels, bookshops, discos, art galleries, street corners and squares, have been historic and ritual points of reference for artists communities. Such environments whose particular “atmospheres” have created ideal places where these authors have met, known, admired, fought, and enjoyed themselves. Places in which they may also have shared fundamental moments as well as artistic and design intuitions. For different eras, yesterday as today, we pinpoint historical maps of the various cities with all the design studios together with the residences of the artists and architects themselves. If we draw the lines connecting these points, folding them along the different streets and squares these personalities might encountered, we then have created an intricate network of paths full of exciting twists and turns. It is easy to discover that some of these intersections correspond to public places where these personalities, more or less consciously, shared their lives, their passions and at the same time their projects and artistic researches
Franco Albini alla Pinacoteca di Brera (1941-1950). Per una museografia moderna a confronto con i direttori G. Pacchioni, E. Modigliani, F. Wittgens e l'architetto P. Portaluppi
No full textLa Conferenza Internazionale Muséographie, architecture et aménagement des musées d'art, organizzata a Madrid nell'ottobre del 1934, ha rappresentato un momento cruciale per le riflessioni sull'ordinamento e sull'allestimento dei musei in Europa e negli Stati Uniti. I saggi qui raccolti analizzano, a partire dalla disamina del convegno madrileno, anche relativamente ai retroscena politici a scala nazionale e internazionale, i risvolti su teorie e politiche culturali e museali nei paesi di origine dei relatori coinvolti nel dibattito; le sovrapposizioni e i dialoghi tra le "storie" dell'arte e dei linguaggi; le teorie sulla conservazione,tutela e valorizzazione e la loro comunicazione nelle sedi museali e nelle città che le accolgono; gli usi dei musei in modo sempre più flessibile e in una logica di trasformazione e il contributo che i progettisti, architetti e allestitori, hanno configurato autonomamente o in dialogo con curatori e storici
Care and Dwelling Culture
No full textDwelling reveals the definition of an “anthropological” existential space in which to experience relationships within the world. This living space is described by Christian Norberg-Schulz (Norberg-Schulz C (1979) Genius loci: Paesaggio, ambi-ente, architettura. Electa) as consisting of many spaces: a pragmatic space in which people satisfy their biological needs; a perceptual space; an abstract space of pure logical relations; a cultural space in which people find their collective activities as a community; and an expressive space related to art as an interpretation of change. In this spatial composition, man projects his image of the world into his environment in order to feel at home. And when the world becomes an interior, man is capable of dwelling, which then implies something more than shelter. Dwelling integrates both concepts of house—the shelter, the dimension of intimacy, comfort, pleasure and security, and the response to our biological needs; and home—the cradle of the inhabitant’s existence with its thoughts, memories and dreams, man’s primary world. A duality that is similarly found in the definition of care: a diligent and caring concern for a subject/object, which engages both our soul and our activity—caring for someone or something, actively looking after it, providing for its needs both physical and psychological. The link between the concept of care and living goes back to the ages and is not even referable to the human species alone. It is therefore necessary to identify a closer temporal and geographical span to try to trace some fundamental transitions and degrees of influence between the two terms, for this reason the period considered starts from the nineteenth century till today, and it took into account mostly the Western Countries
Sfondo e figura dopo il Poème Electronique. Tempo scenico, spazi narrativi e percezioni sensoriali nell'exhibit design contemporaneo.
No full textFuturo anteriore.- Casva cabinet of design thinking. Affioramenti dagli archivi del progetto di Milano/Finds from the Milan Project Archives
No full textIl CASVA, archivio di design e architettura del ‘900, è luogo di intrigante materialità.
I suoi patrimoni documentali sono disegni, oggetti, modelli, prototipi conservati in carpette, faldoni, tubi, scatole, scaffali e cassettiere ricolmi di idee, progetti, realizzazioni o sogni, provocazioni o utopia, indicizzati e organizzati affinché il loro sapere sia sempre a disposizione di tutti.
Un archivio pronto a uscire dalle segrete del Castello Sforzesco per prendere presto posto nella nuova sede dell’Istituto, l’ex mercato comunale nel cuore del QT8, quartiere sperimentale della città moderna, progettato da Piero Bottoni in occasione dell’VIII Triennale di Milano del 1947, oggi modello di riferimento per la cultura urbanistica e architettonica europea del dopoguerra. Il mercato, disegnato dall’Ufficio tecnico comunale (Ing. Carlo Aitelli), su un progetto originario di Bottoni, insieme alla chiesa di Vico Magistretti con Mario Tedeschi e alla scuola elementare di Arrigo Arrighetti sono gli unici progetti compiuti di un Centro Civico del QT8 mai realizzato. In questo luogo simbolo della Milano novecentesca contesto, contenitore e contenuto dei fondi che l’archivio conserva trovano qui perfetta sinergia. In questo contesto il CASVA si propone come nuovo polo culturale che custodisce, rendendoli accessibili e consultabili, gli archivi professionali di architetti e designer in continuo divenire.
Il tempo degli archivi ha una principale coniugazione: il futuro anteriore. Così si declina il tempo dell'archivio perché il suo esistere e la sua operatività fissano l'anteriorità temporale di un evento rispetto al futuro. Sono molte le esperienze messe in atto fino ad ora per superare la seduzione dell’apparenza e portarci ad imparare dalle cose. Con questi propositi la mostra del CASVA alla Fabbrica del Vapore trasmette il fascino dei suoi protagonisti proponendo materiali evocativi dei loro mondi.
L’archivio CASVA in occasione della settimana del design vuole presentare al pubblico milanese, nazionale e internazionale che partecipa alla settimana dedicata al design contemporaneo una selezione di oggetti che rappresentino la varietà e la pluralità dei suoi patrimoni.
Cabinet of design thinking. L'archivio è luogo circoscritto e organizzato che accoglie studiosi e ricercatori ma che sa anche aprirsi ai cittadini, adattando il suo atteggiamento conservatore alle domande di un pubblico che è cambiato: non solo storici, ma curatori, ricercatori, appassionati, curiosi che a vario titolo interrogano i documenti.
Riflettere sulle collezioni del CASVA in una mostra significa riflettere sul ruolo dell’archivio come istituzione culturale, un ruolo che cambia come cambia la società a cui si rivolge, e soprattutto sul ruolo che le esposizioni possono avere all’interno dell’attività di promozione e ricerca di un istituto nato in origine esclusivamente per conservare, che oggi è pronto a svolgere il suo ruolo civile quale luogo di sperimentazione, laboratorio di idee e di valorizzazione, ricerca, formazione.
Il CASVA è un istituto culturale del Comune di Milano che il prossimo anno aprirà la sua nuova sede all’interno dell’ex mercato al QT8. Un nuovo centro di studi inerenti all’architettura, al design, alla grafica e alle arti visive, che mette in valore e promuove il suo patrimonio attraverso mostre, pubblicazioni e eventi culturali.CASVA, the archive of 20th-century design and architecture, is a place of fascinating materiality.
Its documentary heritages include: drawings, objects, models and prototypes. Those materials are stored in folders, binders, cardboard tubes, boxes, shelves and drawers. Ideas, projects, achievements, dreams, challenges and utopias are indexed and organized in order to be available to everyone.
The archive is ready to come out of Castello Sforzesco’s dungeons. It will soon get a new place in the former municipal market in the heart of QT8, an experimental district of the modern city designed by Piero Bottoni for the 8th Milan Triennale in 1947. Nowadays this district is a reference model for postwar European urban and architectural culture. The market, designed by the municipal engineering office (Eng. Carlo Aitelli) is based on an original project by Bottoni. It is, along with Vico Magistretti’s church and Mario Tedeschi and Arrigo Arrighetti’s elementary school, the only completed plan for the QT8’s Civic Center ever realized. In this place context, container and content of the archives find perfect synergy. In QT8, CASVA is meant to be a new cultural hub that keeps and makes accessible the constantly evolving archives of architects and designers.
FUTURO ANTERIORE. The main conjugation of archives is the future perfect: they witness the past to model the future. The CASVA exhibition at Fabrica del Vapore conveys the fascination of its main characters by offering evocative materials of their worlds.
The archive of CASVA wants to promote the variety of its heritages through a selection of pieces on display for the national and international public during design week.
Cabinet of design thinking. The archive meets the needs of a diverse audience: not only historians, but also curators, researchers, enthusiasts and curious people.
Thanks to this exhibition we are led to rethink about the role of the archive that evolves with and opens to our society via publications and cultural events
Associations between feed push-up frequency, feeding behavior and milk yield in dairy buffaloes
No full textFeeding management factors have great potential to influence feeding behavior of dairy cows, which may have implications for their performance. The objective of this pilot study was to assess the effects of feed push-up frequency on the feed behavior and milk yield of Italian Mediterranean dairy buffaloes. Lactating Italian dairy buffaloes (n = 95±6.2, parity =4 ± 1.1; DIM: 97±8.2 mean ± SD) were housed in a freestall, milked twice per day, and offered ad libitum access to water and a total mixed ration (containing, on a dry matter basis: 25% corn silage, 25% grass/alfalfa haylage, 30% high-moisture corn, and 20% protein/mineral supplement), provided once/day. The pen was the experimental unit with the study lasting 40 days. Buffaloes within the pen were exposed to each of 2 treatments in a crossover design with 15-d treatment periods and a 10-d adjustment period in between treatments; treatment 1 had 3 feed push-up a day, whereas treatment 2 had 2 feed push-up a day. Dry matter intake and milk yield were recorded daily whereas every five days feed samples of fresh feed and orts were collected for particle size analysis and chemical evaluation. For the particle size analyses two separators have been used: the Penn State Particle size separator, fitted with 3 screens (19, 8, and 1.18 mm) and a bottom pan, resulting in 4 fractions (long, medium, short, fine) and a Z-box fitted with a 2.38mm screen for determination of the physical effectiveness factor of the TMR. Sorting was calculated as the actual intake of each particle size fraction expressed as a percentage of the predicted intake of that fraction. Feed push-up frequency had no effect on milk yield (13.26 ± 0.04 kg/d vs 13.021±0.05 kg/d for 3 vs 2 push-up) or feed sorting. Buffaloes sorted against long particles (76.4 ± 31.96%) and for short (99.38 ± 0.72%) and fine (100.06 ± 1.09%) particles. The pef of the TMR was not affected by the feed push-up frequency. Dry matter intake increased with increased push-up frequency (41.71±0.03 kg vs 37.11±0.03 kg for 3 vs 2 push-up). These preliminary results suggest that altering feed push-up frequency increases intake but doesn’t affect feed sorting or milk production. Further studies are needed to evaluate long term effects of feeding frequency on milk yield and compositio
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