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Domesticità e spazi pubblici
No full textThe community today is characterized by multiple diversity within it, each individual is
spokesperson of particular cultural synthesis. The crisis of collective values, on which it is
structured in the past the design of public spaces, has inspired to a retreat in the private
sphere who abandoned the project to purely mercantile logic and image. In public space,
anyway, people spend most of their existence and this gives great importance to the
problem of its quality. If the open space today is the place where every single person
exercises similar activities, new types of places are further and otherwise open to the
community and sharing: the interior spaces dedicated to loisir, mobility, culture, exchange.
In these families of collective spaces the paper aims to examine the ways in which forms
embody the changes and demands of the communities that inhabit them
The recognition of founding values in the modern interior
No full textThe restoration and adaptative re-use of modern interiors require awareness of the particular role that has the interior space and, in it, the relationship between space and furnishings in the idea of modern architecture.
This has meant the interior design not only as a defining element of detail or furniture, but as a place of primary genesis of the architecture, the design of which starts from the inside to define volumes, prospects and relations with neighboring areas. Programmatically modern architecture has placed the recognition and analysis of the needs, not only primary, but also cultural and existential at the base of the design action.
Compared to the traditional idea of interior space through "areas", understood as spatial units defined by fixed margins, albeit interconnected in different ways, the architecture is divided into modernity by "fields", or chunks of space, which coagulate around actions or movements, or around the desire to build a relationship between the people, and therefore defined by the equipment of furniture, margins even virtual or labile, around which are gathering fixed margins of construction, acquiring and managing the way relationship between inside and outside. The void becomes the raison d'être of the full.
The problem of interior space is therefore a key to understanding the meaning of modern architecture. Le Corbusier's work around the concept of space of the house, for example, could not regardless of the research on the role of furniture: the projects of the twenties may not be fully understood unless also investigating his work on furniture, through the projects presented in 1925 and in 1928; it is clearly the desire to entrust to the furnishings and their relationship a generative role in the architectural space and to make them able to live in the middle of the empty space.
Awareness of the role of the relationship between furniture and interior spaces in the construction of the sense of modern architecture is essential to define strategies useful for its reuse. Issues relating to language are very important, however, is especially this relationship a crucial point at which you need to compare any conservation work or adaptation to new behaviors to make legible the original sense of the project.
Some examples of architectures not transformed into museums but still inhabited, allows to analyze where and in what resides greater the sense of those works, and consequently the impact of their reuse
The recognition of the founding values in the modern interior
No full textThe restoration and adaptative re-use of modern interiors require awareness of the particular role that has the interior space and, in it, the relationship between space and furnishings in the idea of modern architecture.
This has meant the interior design not only as a defining element of detail or furniture, but as a place of primary genesis of the architecture, the design of which starts from the inside to define volumes, prospects and relations with neighboring areas. Programmatically modern architecture has placed the recognition and analysis of the needs, not only primary, but also cultural and existential at the base of the design action.
Compared to the traditional idea of interior space through "areas", understood as spatial units defined by fixed margins, albeit interconnected in different ways, the architecture is divided into modernity by "fields", or chunks of space, which coagulate around actions or movements, or around the desire to build a relationship between the people, and therefore defined by the equipment of furniture, margins even virtual or labile, around which are gathering fixed margins of construction, acquiring and managing the way relationship between inside and outside. The void becomes the raison d'être of the full.
The problem of interior space is therefore a key to understanding the meaning of modern architecture. Le Corbusier's work around the concept of space of the house, for example, could not regardless of the research on the role of furniture: the projects of the twenties may not be fully understood unless also investigating his work on furniture, through the projects presented in 1925 and in 1928; it is clearly the desire to entrust to the furnishings and their relationship a generative role in the architectural space and to make them able to live in the middle of the empty space.
Awareness of the role of the relationship between furniture and interior spaces in the construction of the sense of modern architecture is essential to define strategies useful for its reuse. Issues relating to language are very important, however, is especially this relationship a crucial point at which you need to compare any conservation work or adaptation to new behaviors to make legible the original sense of the project.
Some examples of architectures not transformed into museums but still inhabited, allows to analyze where and in what resides greater the sense of those works, and consequently the impact of their reuse
La variabile morfologia
No full textSecondo Vittorio Gregotti il termine morfologia ha due fondamentali accezioni. Da una parte l’idea di morfologia è legata alla scala urbana, intesa come tessuto insediativo, «elemento complementare ed oppositivo rispetto alla nozione di tipologia», frutto di una linea di sviluppo che va da Saverio Muratori ad Aldo Rossi. Dall’altro, il concetto di morfologia ha una dimensione ancora maggiore, legata alla scala territoriale e a nozioni come contesto, luogo, posizione, secondo le riflessioni di Giuseppe Samonà e di Vittorio Gregotti stesso. A queste letture potremmo però provare ad affiancarne una terza, che riguarda la morfologia alla scala dell’opera architettonica, prendendo quale punto di riferimento i principi espressi da Henri Focillon nel suo saggio del 1934, Vita delle Forme. Una – come scrive Enrico Castelnuovo – «tra le ultime riflessioni sull’arte come sistema di relazioni formali, prima del trionfo della scienza dei significati»
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