tag:blogger.com,1999:blog-83396546738132560082024-03-05T07:39:16.342-08:00Debora d'Angelis URBAN VOIDS SAGGIODebora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.comBlogger36125tag:blogger.com,1999:blog-8339654673813256008.post-75372614141301377202011-07-20T20:53:00.000-07:002011-07-27T06:27:42.531-07:00<span style="font-size: x-large;">Esame finale</span><br />
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</div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">Le griglie..</span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">...la natura invade il costruito.. </span></span></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-35414774157577236772011-06-21T23:45:00.000-07:002011-06-28T06:04:45.961-07:00<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeoKqL5n6DzJd63QKIjsmJxC5m8Mh7zIj3X7UejYuI_qJ8OP6_yA3lPeaPW-ngx1PKw5PcatbmTmBfQl5VCn0KaGT5W7eh2EsmHnwQyL5zJ-I_nkocwyIbPx0-fY9DHEB5F-ukglc3McQ/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeoKqL5n6DzJd63QKIjsmJxC5m8Mh7zIj3X7UejYuI_qJ8OP6_yA3lPeaPW-ngx1PKw5PcatbmTmBfQl5VCn0KaGT5W7eh2EsmHnwQyL5zJ-I_nkocwyIbPx0-fY9DHEB5F-ukglc3McQ/s320/1.jpg" width="320" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg7qNxK5D3Mpm3jxpPYKza3f-JNQOVNyDytXUCHNluy6rauOyJD-KrEhny7t82fbtbowseI-5W0T0gFvNc37Ol-7Xltsc-HSYs6mM0x5wPMgC-n9R-5wBnoobKFonxoFfbaQI1lequfOE/s1600/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg7qNxK5D3Mpm3jxpPYKza3f-JNQOVNyDytXUCHNluy6rauOyJD-KrEhny7t82fbtbowseI-5W0T0gFvNc37Ol-7Xltsc-HSYs6mM0x5wPMgC-n9R-5wBnoobKFonxoFfbaQI1lequfOE/s320/6.jpg" width="320" /></a></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-41136290241383270332011-05-29T10:33:00.000-07:002011-05-29T10:33:20.813-07:00<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:HyphenationZone>14</w:HyphenationZone> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>IT</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--> <m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent><!--[endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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</style> <![endif]--> <div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt; text-align: left;"><span style="font-family: "Tempus Sans ITC"; font-size: 28pt; line-height: 115%;">DISCARIC ART</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 16pt; line-height: 115%;">A cura di Roberto Lucifero direttore della Cappella Orsini</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><u><span style="font-family: "Tempus Sans ITC"; font-size: 24pt; line-height: 115%;">Progetto DISCARIC ART</span></u></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">La discarica oltre ad essere un luogo fisico è diventato un luogo <span style="color: #e06666;">simbolo dell’inconscio collettivo</span>, il luogo deputato ad accogliere tutto ciò che la Società contemporanea rimuove.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Sulla base di questo presupposto si sviluppa il progetto Discaricart che ha l’obiettivo di mostrare come la coscienza del “vuoto etico” costituisca una metafora di come l’estetica tradizionale può provare una sua gratificazione anche nella rappresentazione della <span style="color: #f1c232;">spazzatura.</span></span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">La discarica è diventata il simbolo dell’emarginazione , del <span style="color: #6aa84f;">disagio urbano</span>, di quel disordine che la <span style="color: #fabf8f;">società cerca in tutti i modi di rimuovere.</span></span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">La parola inglese “waste” in italiano significa sperpero, spreco, rifiuto, scarto, spazzatura, detriti, escrementi, deperimento, deserto, e ancora residuo, rimasto, superfluo, avanzato, arido, desolato, sterile, improduttivo, sintetizza il tabù contemporaneo di ciò che è inclassificabile.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><u><span style="color: #a6a6a6; font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Il progetto DISCARICART ha la funzione di ridefinire il rapporto del cittadino con la spazzatura liberandola dal connotato negativo.</span></u></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Il progetto conduce a due concetti importanti:</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="color: #8064a2; font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">il RICICLO attraverso la mostra Sublime Disfacimento</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="color: #c2d69b; font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">il RIUSO attraverso le opere di Emo Formichi</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><u><span style="font-family: "Tempus Sans ITC"; font-size: 24pt; line-height: 115%;">IL VALORE DEI RIFIUTI</span></u></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 16pt; line-height: 115%;">di Giovanni Hermanin</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 16pt; line-height: 115%;">Presidente dell’AMA (Azienda Municipale Ambiente del Comune di Roma)</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Il progetto Discaricart contribuisce a ravvivare l’interesse del pubblico per il problema della raccolta differenziata e dello smaltimento dei rifiuti stessi cercando di illustrare il valore che essi rappresenatano.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Viviamo in una società dei consumi che segnala la propria differenza dal passato proprio attraverso la produzione di un significativo quantitativo di scarti. Ogni giorno ogni cittadino, ogni famiglia usa e getta materiali che un tempo venivano riutilizzati per la mancanza di materie prime</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">E’ interesse di tutti mettere in atto ogni possibile mezzo di comunicazione per formare una coscienza civica sullo smaltimento dei rifiuti, ancora oggi visto in Italia come un grave problema mentre altrove, in Europa è considerato una risorsa,</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><u><span style="font-family: "Tempus Sans ITC"; font-size: 24pt; line-height: 115%;">SUBLIME DISFACIMENTO</span></u></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Roberto Lucifero ha concepito un progetto che non potrebbe essere più realistico. Visto che l’arte è imitazione della realtà, come dicevano gli antichi e come possiamo sempre dire,</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Lucifero ha preso di mira l’aspetto più reale e paradossale insieme, evidente a tutti e costantemente esorcizzato, quello dei <span style="color: #8db3e2;">rifiuti</span> e della loro progressiva invasione. </span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Non sono oggi i Barbari che minacciano un impero inesistente. C’è, invece, un esercito che aumenta tutti i giorni e riduce gli spazi della vita sociale. Il mondo, però, non esploderà per la superbomba, come diceva Italo Svevo alla fine della Coscienza di Zeno, ma soccomberà sotto il cumulo finale di mondezza perché tutti la producono e nessuno la vuole, tutti ne hanno bisogno ma nessuno può tollerarne la vicinanza.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Il progetto “Sublime Disfacimento” riconsidera il <span style="color: #95b3d7;">valore dei rifiuti e del loro recupero</span>, ci fa riflettere sui rifiuti solidi urbani, sui pensieri rifiutati, sulle persone rifiutate, sui simboli rifiutati: frammenti sfuggiti alla griglia rigida costituita dal sistema complesso di ordinamenti in cui siamo incasellati.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Il tema, ossia la rappresentazione del rifiuto, è andato a sovrapporsi alla stessa condizione dell’artista escluso, condizione obiettiva che gran parte dei creativi vivono.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="color: #ff99ff; font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Come fiori che nascono nel letame, queste opere, che rappresentano rifiuti, hanno una bellezza condivisibile.</span><span style="color: #ff99ff; font-family: "Tempus Sans ITC"; font-size: 20pt; line-height: 115%;"></span></div></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-16122370928586170592011-05-28T06:42:00.000-07:002011-05-28T06:43:53.644-07:00<m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt; text-align: center;"><u><span style="font-family: "Tempus Sans ITC"; font-size: 24pt; line-height: 115%;">IL RIFIUTO NELL’ARTE</span></u></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">La condanna di un oggetto a divenire rifiuto si realizza quando si esaurisce il bisogno che si ha di esso. Si può affermare che molto spesso il </span><span style="color: #f1c232; font-family: "Tempus Sans ITC"; font-size: 20pt; line-height: 115%;">valore che diamo alle cose</span><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;"> ne stabilisce parallelamente la durata e che l’identità di qualsiasi elemento dipende dal nostro giudizio e dalla sua necessità. </span></div><div class="MsoNormal" style="color: #3d85c6; margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">“RIFIUTO” non è altro che il nome che si attribuisce a tutto ciò che ai nostri occhi perde interesse, che siano opere d’arte, oggetti d’uso comune o persino esseri viventi.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">In arte, l’aver dimenticato il valore e la storia di opere straordinarie ne ha deciso la loro fine: basti pensare all’Acropoli di Atene utilizzata dai Turchi come deposito d’armi.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Da questo oblio è nato, però, un nuovo fenomeno: </span><br />
<span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;"> </span><span style="color: #b45f06; font-family: "Tempus Sans ITC"; font-size: 22pt; line-height: 115%;">il riciclo.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Nella tradizione artistica il riciclaggio di materiali è sempre stato attività “lecita”; in pittura infatti è stato sistematico il riuso di tavole, supporti, cornici e tele e, in architettura, soprattutto nel Medioevo e nel Rinascimento i monumenti antichi furono oggetto di un vero e proprio saccheggio, lo “spoglio” di marmi e materiali preziosi in templi ed edifici romani sono diventati i tasselli di nuovi edifici, di un nuovo culto e di un nuovo concetto di cultura.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Il Colosseo, ad esempio, caduto ormai in disuso, con l’avvento del cristianesimo, si trasformò in una enorme cava di marmo, piombo e ferro che servirono ai papi per costruire palazzo Barberini, piazza Venezia e perfino San Pietro. </span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Il David di Michelangelo fu realizzato, nel 1504, da un blocco di marmo precedentemente sbozzato da altri due artisti che abbandonarono entrambi la scultura giudicando il marmo troppo fragile.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="color: #ffff99; font-family: "Tempus Sans ITC"; font-size: 19pt; line-height: 115%;">Il rifiuto non è solo sinonimo di inutile e inutilizzato ma anche di ciò che non viene compreso e apprezzato</span><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;"> e di conseguenza viene relegato al di fuori del panorama culturale tradizionale. Nel 1863 viene inaugurato a Parigi il Salon des Refusès (Salone dei rifiutati), per accogliere le opere degli artisti esclusi dal Salon“ufficiale” ovvero quello dell’Académie des Beaux-Art di Parigi.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;"><span style="color: #b45f06;">Ma il processo culturale ha man mano ribaltato il valore dello scarto e del rifiutato.</span> L’industrializzazione, con il suo accumulare fece sì che nell’arte moderna lo scarto divenne soggetto privilegiato. Le tematiche superano, di conseguenza, quella strettamente artistica e espressiva andando a coinvolgere intenzionalmente l’ecologia, la ricerca sociale..</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Le avanguardie si scatenano nello sconvolgere gli schemi rigidi dell’arte. Il Dada si contrappone al concetto e alla volontà di produzione dell’opera d’arte tradizionale; Marcel Duchamp propone il ready-made ovvero l’elevazione a valore estetico e artistico di oggetti ritrovati, e di uso comune. </span><span style="color: #c0504d; font-family: "Tempus Sans ITC"; font-size: 20pt; line-height: 115%;">Oggetti</span><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;"> appunto </span><span style="color: #c0504d; font-family: "Tempus Sans ITC"; font-size: 20pt; line-height: 115%;">“già fatti”</span><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;"> e collocati in un altro contesto, quello artistico, senza alcun intervento aggiuntivo da parte dell’artista, all’interno di altre e diverse regole di percezione e di interpretazione. Al di là dell’intento provocatorio queste opere rappresentano il tentativo di attuare uno spiazzamento nei rapporti tra un oggetto, il suo luogo e le sue funzioni offrendogli così una </span><span style="color: #548dd4; font-family: "Tempus Sans ITC"; font-size: 20pt; line-height: 115%;">seconda possibilità di rinascita</span><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Percorrendo le varie correnti artistiche e le diverse modificazioni culturali si arriva all’arte contemporanea dove lo scarto, come oggetto di speculazione, sviluppa innumerevoli linguaggi. Il bello nell’arte viene destrutturato e ricomposto attraverso le sperimentazioni che elevano a immagine sublime il relitto, il rudere, lo sgradevole..</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Michelangelo Pistoletto trova un <span style="color: #674ea7;">legame profondo, tra antico e vecchio.</span> Nella sua “Venere degli stracci” l’antica bellezza dell’arte classica osserva attraverso gli occhi della dea della bellezza un cumulo di vecchi abiti, logori, dimenticati ormai inutili; è qui che</span><span style="color: #92d050; font-family: "Tempus Sans ITC"; font-size: 20pt; line-height: 115%;"> l’idea di scarto e rifiuto si fa più viva nel contesto culturale.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">Infine arrivati ai nostro giorni, comprendiamo che il rifiuto nell’arte è una costante non sempre per diretta scelta dell’artista, ma perché è la nostra società che convive pericolosamente con la possibilità che i nostri “inutili rifiuti” ci sommergano..</span><span style="color: red; font-family: "Tempus Sans ITC"; font-size: 22pt; line-height: 115%;">La presenza dei rifiuti nell’arte diventa oggi una ragione sociale quasi necessaria.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">L’artista americana Miele Laderman Ukeles si è definita Artista ufficiale del New York City Department of Sanitation, ovvero l’azienda comunale per l’ambiente che si occupa di rifiuti e spazzatura. L’opera di Ukeles sta tra performance e land-art. Nella sua “Touch Sanitation” l’artista ha salutato e stretto la mano, uno per uno, tutti gli 8.500 operatori del N.Y.C.D.S. ripetendo ad ognuno “grazie tu mantieni viva New York”.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="font-family: "Tempus Sans ITC"; font-size: 18pt; line-height: 115%;">A Marzo 2007 Piazza del Popolo è stata invasa dai “Trash People”, un esercito fatto di 35 tonnellate di rifiuti urbani, opera monumentale dell’artista tedesco Ha Shult, che mostra quanta spazzatura ci lasciamo alle spalle.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="color: #ff9933; font-family: "Tempus Sans ITC"; font-size: 22pt; line-height: 115%;">Comprendere l’importanza dei rifiuti e promuovere il riutilizzo attraverso la raccolta differenziata e il riciclo.</span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><span style="color: #ff9933; font-family: "Tempus Sans ITC"; font-size: 22pt; line-height: 115%;"> </span></div><div class="MsoNormal" style="margin: 0cm -21.35pt 0.0001pt -14.2pt;"><br />
</div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEKAVkK2xgT1ZQfsGnLf6kyg-A0Q_16sniPK3HPuoXVAMX4ELPgteGLwd32_WVmDa-ptoM6AjP-7a2TIJsg2U8fCq6TIRspm_j38PV6V1TPCPCtfQOL8QLYx8Z5TYvbBscOkzR3DJiZM/s1600/Manet%252C_Edouard_-_Le_D%25C3%25A9jeuner_sur_l%2527Herbe_%2528The_Picnic%2529_%25281%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEKAVkK2xgT1ZQfsGnLf6kyg-A0Q_16sniPK3HPuoXVAMX4ELPgteGLwd32_WVmDa-ptoM6AjP-7a2TIJsg2U8fCq6TIRspm_j38PV6V1TPCPCtfQOL8QLYx8Z5TYvbBscOkzR3DJiZM/s320/Manet%252C_Edouard_-_Le_D%25C3%25A9jeuner_sur_l%2527Herbe_%2528The_Picnic%2529_%25281%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Edouard Manet</span></td><td class="tr-caption" style="text-align: center;"><br />
</td><td class="tr-caption" style="text-align: center;"><br />
</td></tr>
</tbody></table><div style="text-align: center;"><span style="font-size: large;">Le déjeuner sur l'Herbe, 1863</span></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-31569172852615391762011-05-26T08:11:00.001-07:002011-05-26T08:13:34.988-07:00<m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
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</style> <![endif]--> <div class="MsoNormal" style="text-align: center;"><span style="color: #76923c; font-family: "Tempus Sans ITC"; font-size: 28pt; line-height: 115%;">Alghe come chiave della vita!</span></div><div class="MsoNormal" style="text-align: center;"><br />
</div></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/ep2vJpUrg3Q?feature=player_embedded' frameborder='0'></iframe></div><div class="MsoNormal"><br />
</div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-91971663252405736832011-05-24T10:25:00.000-07:002011-05-24T10:25:28.787-07:00<div style="color: #6aa84f; text-align: center;"><span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: x-large;"><span style="font-size: 32pt;">Le Alghe</span>..</span></span></div><span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: x-large;"> ..la chiave per la bonifica di Fukushima</span></span><br />
<span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: x-large;"><span style="font-size: small;"> </span> </span></span><br />
<span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: medium;">06-04-2011</span></span><br />
<span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;">Mentre dall’impianto di Fukushima circa 15.000 tonnellate di acqua radioattiva rischiano di riversarsi nell’Oceano Pacifico, da un’alga potrebbe arrivare un nuovo sistema per rimuovere scorie radioattive dall’ambiente.</span></span><br />
<span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;">Gli scienziati della Northwestern University (Usa) e dell’Argonne National Laboratory hanno infatti condotto uno studio sull’ alga Closterium moniliferum, rivelatasi capace di rimuovere lo stronzio – e il suo isotopo radioattivo, lo stronzio 90 – dall’acqua.</span></span><br />
<span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;">Insieme al suo gruppo di ricerca, infatti, Krejci ha mostrato che oltre alla sua forma curiosa, di spicchio di luna crescente, questo microrganismo ha una proprietà molto interessante: è in grado di rimuovere lo stronzio – compreso il suo isotopo radioattivo, lo stronzio 90, che è uno dei residui dei reattori nucleari – dall’acqua, depositandolo in cristalli all’interno di particolari strutture cellulari chiamate vacuoli.</span></span><br />
<span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;">Lo stronzio ha un’emivita di circa 30 anni ed è capace di infiltrarsi nel latte, nelle ossa, nel midollo osseo, nel sangue e in altri tessuti dove la radiazione emessa può avere azione cancerogena. Questo elemento è molto simile in proprietà e dimensioni al</span></span><em><span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;"> calcio</span></span></em><span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;"> (normalmente presente nei rifiuti dei reattori in quantità fino a dieci miliardi più alte rispetto allo stronzio) rendendo difficile durante i processi biologici separare i due elementi e sequestrare uno o l’altro selettivamente. E qui entra in gioco</span></span><em><span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;"> </span></span></em><span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;">l’alga Closterium moniliferum.</span></span><br />
<span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;">Secondo quando raccontato nella ricerca statunitense, l’alga raccoglie al suo interno preferibilmente atomi di un altro elemento chimico, il bario. Tuttavia lo stronzio, in quanto a dimensioni e proprietà, è una perfetta via di mezzo tra calcio e bario e viene quindi cristallizzato dall’alga tanto bene quanto quest’ultimo. Cosa che invece non avviene con il calcio che, sebbene più presente, è abbastanza differente rispetto al bario, tanto da non suscitare l’interesse del</span></span><em><span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;"> C. moniliferum</span></span></em><span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;">.</span></span><br />
<span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;">La funzione dei cristalli all’interno del microrganismo non è ancora chiara e la loro formazione sembra essere la conseguenza di un’alta concentrazione di soluzioni contenenti solfati nei vacuoli. In queste soluzioni, infatti, bario e stronzio non sono solubili e quindi precipitano sottoforma di cristalli.</span></span><br />
<br />
<div style="color: #93c47d;"><u><span style="font-family: Maiandra GD,sans-serif;"><span style="font-size: large;">Gli scienziati stanno pensando dunque a un sistema per potenziare l’azione delle alghe e aumentare al massimo l’effetto cattura-scoria. Ma la nuova conoscenza potrebbe essere utile anche a progettare un sistema che imiti il metodo utilizzato dalle alghe.</span></span></u></div><div style="margin-bottom: 0cm;"><br />
</div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-46765603754261182132011-05-24T09:30:00.000-07:002011-05-24T09:31:33.694-07:00<div style="color: #76a5af; text-align: center;"><div style="margin-bottom: 0cm;"><span style="font-family: Comic Sans MS,cursive;"><span style="font-size: 32pt;">Strategia delle 5 R </span></span> </div><div style="margin-bottom: 0cm;"><br />
</div></div><div style="margin-bottom: 0cm;"></div><div style="margin-bottom: 0cm;"></div><div style="color: #76a5af; margin-bottom: 0cm;"><span style="font-family: Comic Sans MS,cursive;"><span style="font-size: x-large;"><span style="font-style: normal;"><u>Riduzione, Raccolta, Riuso, Riciclo e Recupero</u></span></span> </span> </div><div style="margin-bottom: 0cm;"><span style="font-family: Comic Sans MS,cursive; font-size: large;">E' un percorso virtuoso che conduce ad una gestione ecosostenibile dei rifiuti, sostenuta dalle attività di selezione e trasformazione. </span> </div><div style="margin-bottom: 0cm;"></div><h5><span style="font-family: Comic Sans MS,cursive; font-size: large;"><span style="color: #76a5af;">R – RIDUZIONE</span> ALL'ORIGINE DEI RIFIUTI</span></h5><span style="font-family: Comic Sans MS,cursive; font-size: large;">Scegliamo prodotti con imballaggi ridotti e/o riutilizzabili ed evitiamo gli sprechi!</span><br />
<h5><span style="font-family: Comic Sans MS,cursive; font-size: large;"><span style="color: #76a5af;">R – RACCOLTA</span> DIFFERENZIATA</span></h5><span style="font-family: Comic Sans MS,cursive; font-size: large;">Impegniamoci a separare correttamente i rifiuti e a buttarli nei contenitori giusti!</span><br />
<h5><span style="font-family: Comic Sans MS,cursive; font-size: large;"><span style="color: #76a5af;">R – RIUSO</span> DEGLI OGGETTI ANCORA UTILI</span></h5><span style="font-family: Comic Sans MS,cursive; font-size: large;">Possiamo riutilizzare i barattoli e le bottiglie di vetro; il lato bianco delle fotocopie può essere utile per prendere appunti, gli abiti smessi si possono regalare, una sedia può essere riparata e riusata, insomma sono moli gli oggetti che possono continuare a svolgere la loro funzione originaria.</span><br />
<h5><span style="font-family: Comic Sans MS,cursive; font-size: large;"><span style="color: #76a5af;">R – RICICLO</span> DEI MATERIALI UTILI</span></h5><span style="font-family: Comic Sans MS,cursive; font-size: large;">I materiali che separiamo con la raccolta differenziata diventano nuovi prodotti in vetro, alluminio, plastica, carta. Anche i nostri scarti alimentari possono essere trasformati e diventare compost, utile per le nostre piante o in agricoltura.</span><br />
<h5><span style="font-family: Comic Sans MS,cursive; font-size: large;"><span style="color: #76a5af;">R – RECUPERO</span> DI ENERGIA</span></h5><span style="font-family: Comic Sans MS,cursive; font-size: large;">La parte dei rifiuti non riciclabile può essere trasformata in energia nei nuovi impianti di termovalorizzazione costruiti nel rispetto dell'ambiente.</span>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-61644446347369278992011-05-22T03:23:00.000-07:002011-05-22T03:38:38.211-07:00<m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><u><span style="font-size: x-large;"><span style="font-family: "Maiandra GD","sans-serif"; line-height: 115%;">“Immersione” nell’Accademia del Superfluo</span></span></u></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><u><span style="font-size: x-large;"><span style="font-family: "Maiandra GD","sans-serif"; line-height: 115%;"><br />
</span></span></u></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><span style="font-size: x-large;"><span style="font-family: "Maiandra GD","sans-serif"; line-height: 115%;">L’ex Chiesa di S.Maria di Grottapinta attuale sede della Cappella Orsini e dell’Accademia del Superfluo ti catapulta in un contesto che sicuramente ti affascina e ti spinge a sé. La luce così soffusa e il caos, inteso come quantità di cose da osservare, cose da capire e da scoprire, ti catturano e ti guidano in un percorso in cui si coglie la passione di chi questi spazi li rende tali.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Stretti di mano</span></td><td class="tr-caption" style="text-align: center;"><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Liberi?</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Reclusi</span></td></tr>
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</div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-48975859525781583302011-05-20T04:51:00.000-07:002011-05-28T06:47:47.199-07:00<m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal" style="text-align: center;"><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;">Riciclare</span></div><div class="MsoNormal"><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSnPeTYQk_HTRD76m_xgLB6umh22H2Q1hXjjx6i834npOUJpW-trzxmfiTjbAWP5zpKwdjIij_jGavDyCji_pCqxaQY44xJuqwcUhGy01tWf94G4r7V19V_dfSpm9bJ6CC57ZxVlViM6w/s1600/gu.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSnPeTYQk_HTRD76m_xgLB6umh22H2Q1hXjjx6i834npOUJpW-trzxmfiTjbAWP5zpKwdjIij_jGavDyCji_pCqxaQY44xJuqwcUhGy01tWf94G4r7V19V_dfSpm9bJ6CC57ZxVlViM6w/s1600/gu.png" /></a></div><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal"> <m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:wrapindent m:val="1440"><m:intlim m:val="subSup"><m:narylim m:val="undOvr"></m:narylim></m:intlim></m:wrapindent></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 24pt; line-height: 115%;">costruire..inventare..creare..ricreare</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0G-rGG9OneFcY0htL6-eJw-EydYcNKUTCvpQkjv644qHBceEdoG8Iq5griCmwLJ75ZyMGftogMyRXZyPOZFH2xdcz-1QWRlkmMfruVR1yEz_f_cBVlZIljEHu918vRMiumUoZfNfpmRE/s1600/guu+copia.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0G-rGG9OneFcY0htL6-eJw-EydYcNKUTCvpQkjv644qHBceEdoG8Iq5griCmwLJ75ZyMGftogMyRXZyPOZFH2xdcz-1QWRlkmMfruVR1yEz_f_cBVlZIljEHu918vRMiumUoZfNfpmRE/s320/guu+copia.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div></div><div class="MsoNormal"><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;">Il mio progetto?? D.A.F.N.E.</span></div><div class="MsoNormal"><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;">D.<span style="color: #76a5af;">esign </span></span><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;">A.<span style="color: #f9cb9c;">rte</span></span><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;"> F.<span style="color: #cc0000;">antasia</span></span><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;"><span style="color: #76a5af;"></span></span></div><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;"> N.<span style="color: #93c47d;">atura</span> E.<span style="color: #8e7cc3;">spressione</span></span><br />
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<span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;"><span style="color: #8e7cc3;"></span></span><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;">Quante cose è possibile fare riciclando!!</span><br />
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<div style="text-align: center;"><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;">D.<span style="color: #76a5af;">esign</span></span></div><div class="MsoNormal" style="text-align: center;"></div><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;"></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSkpZsYBy4tt22j-XilbCfJO2gTxFgTu6ocbdunTYT_ZlOiKwFQUesH3KJ6prxIGh2jyyFSGjwCGUF7pI-ljfYpuYtRoLkB9YrXK8O-o_XMxAkjpvdosj4zKcsdZDYOBFCZgZ2zcXcVms/s1600/pistotavolo.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSkpZsYBy4tt22j-XilbCfJO2gTxFgTu6ocbdunTYT_ZlOiKwFQUesH3KJ6prxIGh2jyyFSGjwCGUF7pI-ljfYpuYtRoLkB9YrXK8O-o_XMxAkjpvdosj4zKcsdZDYOBFCZgZ2zcXcVms/s320/pistotavolo.JPG" width="320" /></a></div><div class="MsoNormal"></div><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal"><span style="color: #76a5af; font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;">Un tavolo-lampada nato utilizzando parti di veccghi elettrodomestici, come il vetro di un forno e il piano di un fornello</span></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgckGiDTG7-QczQbfcT5D4OcqTNfZ2vzUYhA74iSj2-EFQcK45D7VWbsSy8YGsehI20BAAQo44EIfdtQ5zlXgAZeyAJ7gjT-Gx-I5WBUaByn60tW7zZ0rSGmj_Mkf1VEiC2y4HoEUiBgbQ/s1600/meteora2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgckGiDTG7-QczQbfcT5D4OcqTNfZ2vzUYhA74iSj2-EFQcK45D7VWbsSy8YGsehI20BAAQo44EIfdtQ5zlXgAZeyAJ7gjT-Gx-I5WBUaByn60tW7zZ0rSGmj_Mkf1VEiC2y4HoEUiBgbQ/s320/meteora2.jpg" width="240" /></a></div><br />
<m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent><span style="color: #76a5af; font-family: "Maiandra GD","sans-serif"; font-size: 18pt; line-height: 115%;">Lampada da terra realizzata con pezzi di carpenteria pesante, collettori raffreddamento, trasformatore elettrico toroidale, legno selvaggio, tutto da recupero.</span><span style="color: #6aa84f; font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"><span style="color: #76a5af;"> </span></span></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6BGSgl91hv6dJEOSJ6ZwOxtg2qgLP7LeqL0iLuBoH1w35kRt2xw1ygcAwprP7WY-HIqO9FUAyWu0ZE_ZEZhAiocNFOJYI-N_pfqMsB5xZTs74WZkfHcFzzqT9wQ1PO8brYxqJfeNRzNQ/s1600/poltronarex.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6BGSgl91hv6dJEOSJ6ZwOxtg2qgLP7LeqL0iLuBoH1w35kRt2xw1ygcAwprP7WY-HIqO9FUAyWu0ZE_ZEZhAiocNFOJYI-N_pfqMsB5xZTs74WZkfHcFzzqT9wQ1PO8brYxqJfeNRzNQ/s320/poltronarex.JPG" width="229" /></a></div><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal" style="color: #76a5af;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;">È una poltrona ricavata da un bidone americano per rifiuti e modellata con elettrosaldatura: è impilabile, sfruttabile come contenitore; si può usare anche in esterni e rendere luminoso schermando la parte inferiore. </span><br />
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</span></div><div class="MsoNormal" style="color: #76a5af;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdoPvhDamb-aYjgx2MKKzowBGd1NblagCYW6CqsHU7XlG7Cp4Q_HX74e_J3dTdsfhyo6pItkc8H6h-R2tTvEJw2qh2lL9SfIqNWIy8bVxXkn73U6Z9hPL9fej5iUe1QLkJhPWYMfWALDk/s1600/index5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdoPvhDamb-aYjgx2MKKzowBGd1NblagCYW6CqsHU7XlG7Cp4Q_HX74e_J3dTdsfhyo6pItkc8H6h-R2tTvEJw2qh2lL9SfIqNWIy8bVxXkn73U6Z9hPL9fej5iUe1QLkJhPWYMfWALDk/s320/index5.png" width="163" /></a></div></div><div class="MsoNormal" style="color: #76a5af;"><br />
</div><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
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</div><div class="MsoNormal" style="color: #76a5af;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;">Candeliera frutto del recupero di una vecchia caffettiera.</span></div><div class="MsoNormal" style="color: #76a5af;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVyXRBvB9LZ1hTV56iVeoZCGk4kcmS1gJkfprxgEL0ETTpBtbMWERPBvgDcd5m7v8JgL6wztCxr2y-MJiKulEE_JptcRMo514p7Tf2cPsJS2vPWae4XHIPH3V-SDMJpVXUe1xtbwJ1toY/s1600/index.6png.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVyXRBvB9LZ1hTV56iVeoZCGk4kcmS1gJkfprxgEL0ETTpBtbMWERPBvgDcd5m7v8JgL6wztCxr2y-MJiKulEE_JptcRMo514p7Tf2cPsJS2vPWae4XHIPH3V-SDMJpVXUe1xtbwJ1toY/s320/index.6png.png" width="108" /></a></div><div class="MsoNormal" style="color: #76a5af;"><br />
</div><div class="MsoNormal" style="color: #76a5af;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="MsoNormal" style="color: #76a5af;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;">Attaccapanni realizzato con i tubi in cartone della carta da plotter, i tubi possono ruotare attorno a un tondino metallico centrale.</span></div><div class="MsoNormal" style="color: #76a5af;"><br />
</div><span style="color: #6aa84f; font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"><span style="color: #76a5af;"> </span> </span><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><span style="color: #6aa84f; font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;"></span></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><span style="color: #6aa84f; font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;"><br />
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<div class="MsoNormal" style="text-align: center;"><span style="color: #76923c; font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;">A.<span style="color: #f9cb9c;">rte</span></span><br />
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</div><div class="MsoNormal" style="text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOC0WGY0yw5wyi7WzC1dhVayxLa-fLuGrLmTiGa6f-Nx6a9OWi2PdbyhKVLFvWcJf3i5RVSdVibTFObL2Nib4xT9ikhHPkhjVK0Gz93zSb1L7NgQWcrwIDuf4erjCSfLAD8l-ZrjmUcf4/s1600/animocompresso.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOC0WGY0yw5wyi7WzC1dhVayxLa-fLuGrLmTiGa6f-Nx6a9OWi2PdbyhKVLFvWcJf3i5RVSdVibTFObL2Nib4xT9ikhHPkhjVK0Gz93zSb1L7NgQWcrwIDuf4erjCSfLAD8l-ZrjmUcf4/s320/animocompresso.JPG" width="320" /></a></div><div class="MsoNormal" style="text-align: center;"></div><div class="MsoNormal" style="text-align: left;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
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</div><div class="MsoNormal" style="color: #f9cb9c;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;">«E' il lato compresso del carattere, quando l'unica soluzione è sparire, anche fisicamente, abbandonare una strada per intraprenderne altre è pericoloso, ma necessario per vivere la vita che si vuole». <br />
Scultura realizzata utilizzando un pistone, una molla, bielle, pingivalvole e una piastra di acciaio lucido</span></div><div class="MsoNormal" style="color: #f9cb9c;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdZgBPFfXABNW9EG1h1KU5N6_GsXDi8mNzO9fEP6dEvlAOOrY5dGgu6aq9b7QZ8-Eb-TCvyiIqtARu5eEkYeeTYeSQKMTZ4EFwd9n0Tom7mHWr-hU4Lh7y9R_v5URlT6N-SxgRtUQwrSo/s1600/ribellione+ecologica.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdZgBPFfXABNW9EG1h1KU5N6_GsXDi8mNzO9fEP6dEvlAOOrY5dGgu6aq9b7QZ8-Eb-TCvyiIqtARu5eEkYeeTYeSQKMTZ4EFwd9n0Tom7mHWr-hU4Lh7y9R_v5URlT6N-SxgRtUQwrSo/s320/ribellione+ecologica.jpg" width="320" /></a></div><div class="MsoNormal" style="color: #f9cb9c;"><br />
</div><div class="MsoNormal" style="color: #f9cb9c;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="MsoNormal" style="color: #f9cb9c;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;">L'opera, realizzata con materiali di riciclo, denuncia l'incoscienza dell'uomo che spesso non compie quei semplici gesti per differenziare i materiali utilizzati. L'esasperazione dell'opera porta ad una ribellione dei materiali riciclabili, nella fattispecie la carta, la quale fa chiaramente intendere che il suo posto non è tra tutti gli altri, ma semplicemente nel cestino a portata di mano: RIBELLIONE ECOLOGICA!!!</span></div><div class="MsoNormal" style="color: #f9cb9c;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6UIjlVm_xX_oZo24yEgyoNqeRuAzwIu4ssN-lbnn5CfFp-QlDF7dTHRNCXyacHTXy0ILIbclS0LIFA8cZ65q6sUJnB52tQ2tzP9ffxNWwrq0fkcJppORjSWuXSpL-IVV1yl3VRwSj-AU/s1600/arte+del+riciclo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6UIjlVm_xX_oZo24yEgyoNqeRuAzwIu4ssN-lbnn5CfFp-QlDF7dTHRNCXyacHTXy0ILIbclS0LIFA8cZ65q6sUJnB52tQ2tzP9ffxNWwrq0fkcJppORjSWuXSpL-IVV1yl3VRwSj-AU/s320/arte+del+riciclo.jpg" width="320" /></a></div><div class="MsoNormal" style="color: #f9cb9c;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;"><br />
</span></div><div class="MsoNormal" style="color: #f9cb9c;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="MsoNormal" style="color: #f9cb9c;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;">L'opera, realizzata interamente con materiali di riciclo, rappresenta la sintesi del messaggio che gli artisti hanno voluto esprimere. Dai materiali non più utilizzati è possibile ricavare qualcosa di prezioso e nel caso specifico l'opera stessa è la cosa preziosa che si è ricavata con i materiali di risulta.</span></div></div><div class="MsoNormal" style="text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8EeHCz1F7LoZAp57AVo0nUt7NadytWBgXLbX7Qo2CiTp4LpEC7z8JehIXw5dBys295IMHhsy0v-HG7O_UYFEip3P6YOhU7EhNMmGJnFY-EXn-CCWGDNiHbqwU6iWKlO-AyN0_aiTz80M/s1600/index.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8EeHCz1F7LoZAp57AVo0nUt7NadytWBgXLbX7Qo2CiTp4LpEC7z8JehIXw5dBys295IMHhsy0v-HG7O_UYFEip3P6YOhU7EhNMmGJnFY-EXn-CCWGDNiHbqwU6iWKlO-AyN0_aiTz80M/s320/index.png" width="320" /></a></div><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;"> </span></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div style="color: #f9cb9c;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;">Gli ortaggi e le foglie sono realizzati con bottiglie di plastica; il picciolo con rametti secchi; tappi in plastica per i pomodori e carta all'interno per la solidità dell'oggetto. La decorazione esterna è fatta con gusci d'uova tritate oppure incollate come delle tessere. </span></div><div style="color: #38761d;"><br />
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</div><div style="color: #6aa84f;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent><span style="color: #f9cb9c; font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;">La corolla dei fiori è realizzata con una bottiglia di plastica; per gli steli sono stati usati dei rametti secchi. </span></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
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<div class="MsoNormal" style="color: #f9cb9c;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;">Opera che vede l'assemblaggio di tre parabole di ricezione, dipinte, montate su una staffa verticale in ferro bilanciata a terra da una doppia serpentina "avanzo" di caldaia, in acciaio. L'opera intende denunciare una città alienata, continuamente bombardata da segnali acustici ed elettromagnetici, imbruttita da queste forme nude che un articolo stesso del Codice civile impedisce di colorare, con la motivazione di renderne l'impatto ambientale meno forte.<br />
E se i tetti delle città diventassero immense opere d'arte, l'una a richiamare l'altra come antichi soldati di confine?<br />
Parabole, esempi di modernità che hanno già bisogno di essere smaltiti, riusati, riciclati, come il pezzo di caldaia che fa da basamento all'opera, sfuggito alle discariche per fare da doppia elica - novello DNA - al trittico di antenne, un DNA attraverso cui si trasmettono le informazioni tra i diversi e complessi organismi di questo tempo.</span></div><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><span style="color: #38761d; font-family: "Maiandra GD","sans-serif"; font-size: 20pt; line-height: 115%;"> </span><span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"> </span> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal"></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-43958835358352534212011-05-20T04:45:00.000-07:002011-05-24T10:06:04.998-07:00<div style="color: #999999; font-family: Times,"Times New Roman",serif; text-align: center;"><br />
<div style="margin-bottom: 0cm;"><span style="font-family: Segoe Print;"><span style="font-size: 32pt;">18 maggio:Pin up!!</span></span></div></div><div style="font-family: Times,"Times New Roman",serif; text-align: center;"><br />
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<div style="color: #93c47d; margin-bottom: 0cm;"></div><div style="color: #6aa84f; margin-bottom: 0cm;"><span style="font-family: Segoe Print;"><span style="font-size: 38pt;">My bang: Le alghe!!</span></span></div><br />
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</div><div style="text-align: center;"></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-9409740315239855242011-05-11T01:35:00.000-07:002011-05-13T23:06:23.808-07:00<m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal" style="color: #666666; text-align: center;"><u><span style="font-family: "Maiandra GD","sans-serif"; font-size: 28pt; line-height: 115%;">Contesto fisico</span></u></div><div class="MsoNormal" style="color: #666666; text-align: center;"><u><span style="font-family: "Maiandra GD","sans-serif"; font-size: 28pt; line-height: 115%;"><br />
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<div class="MsoNormal" style="text-align: center;"><b><i><span style="font-family: "Book Antiqua","serif"; font-size: 24pt; line-height: 115%;"> "IL CLIENTE"</span></i></b></div><div class="MsoNormal"><b><i><span style="font-family: "Book Antiqua","serif"; font-size: 24pt; line-height: 115%;"> </span></i></b></div><div class="MsoNormal"><b><i><span style="font-family: "Book Antiqua","serif"; font-size: 24pt; line-height: 115%;">Roberto Lucifero</span></i></b><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; line-height: 115%;"><br />
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</span><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;">Nato a Roma, ha vissuto per alcuni anni in America Latina e Stati Uniti, per poi tornare alla sua città natale svolgendo il ruolo di assistente a Luigi Comencini. Nel 1987 fonda l’Accademia del Superfluo, la prima scuola di arti applicate nata a Roma in tempi moderni. La credibilità conquistata sul campo gli ha permesso di realizzare consistenti interventi di rifacimenti pittorici in edifici pubblici e privati (Galleria Borghese, Palazzo Barberini, Campidoglio, etc ). Parallelamente si è dedicato all’allestimento di mostre a Palazzo Venezia, Palazzo Ruspoli e Palazzo delle Esposizioni. Nel 2005 crea il Centro Culturale <u>Cappella Orsini</u> attraverso cui realizza progetti culturali sperimentali e inediti con accuratezza esecutiva di livello museale.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b><i><span style="font-family: "Book Antiqua","serif"; font-size: 24pt; line-height: 115%;">Cappella Orsini</span></i></b><br />
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</div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt;">Cappella Orsini è un nuovo centro culturale, contenitore interdisciplinare che utilizza i 20 anni di esperienza delle due strutture che ne condividono la collocazione, lo Studio Lucifero, azienda che opera nel design da 18 anni </span><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt;">come studio di progettazione e realizzazione di allestimenti e design, nonché come gruppo di produzione artistica</span><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt;"> e l’Accademia del Superfluo nota scuola di arti applicate fondata nel 1986.</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTNJr_rVfbpmfC0MqSWdi5o-IMUdq2YVO5Coem9Tw3WYkDRIlAU0MPhiOZLO2v9BXSToL1qTPt5NQuW7rP55LBA7GYF5lmC-e8qr1jOf0oU6ZiZJztEFEkEsozoFQ-Wm3o_HokegJgFhs/s1600/ev4630%25281%2529-ori.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTNJr_rVfbpmfC0MqSWdi5o-IMUdq2YVO5Coem9Tw3WYkDRIlAU0MPhiOZLO2v9BXSToL1qTPt5NQuW7rP55LBA7GYF5lmC-e8qr1jOf0oU6ZiZJztEFEkEsozoFQ-Wm3o_HokegJgFhs/s1600/ev4630%25281%2529-ori.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTNJr_rVfbpmfC0MqSWdi5o-IMUdq2YVO5Coem9Tw3WYkDRIlAU0MPhiOZLO2v9BXSToL1qTPt5NQuW7rP55LBA7GYF5lmC-e8qr1jOf0oU6ZiZJztEFEkEsozoFQ-Wm3o_HokegJgFhs/s200/ev4630%25281%2529-ori.jpg" width="200" /></a></div><br />
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<b><i><span style="font-family: "Book Antiqua","serif"; font-size: 24pt; line-height: 115%;">La sede: Ex Chiesa di S. Maria in Grottapinta</span></i></b><br />
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<div class="MsoNormal" style="line-height: normal;"><span style="font-size: x-large;"><span style="font-family: "Book Antiqua","serif"; line-height: 115%;">Breve storia della chiesa</span><span style="font-family: "Book Antiqua","serif"; line-height: 115%;"> </span></span><b><i><span style="font-family: "Book Antiqua","serif"; font-size: 24pt; line-height: 115%;"></span></i></b><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt;"> </span></div><div class="MsoNormal" style="line-height: normal;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt;">L’origine del suo nome deriva probabilmente dalla presenza di pitture negli ambienti inferiori appartenenti alla cavea dell’antico teatro di Pompeo, sulla cui struttura curvilinea si sviluppò nel Medio Evo il complesso dell’antico Palazzo Orsini di cui ancora oggi la chiesa è parte integrante. L’attuale facciata risale al restauro voluto da Virginio Orsini, infatti il timpano reca al centro lo stemma di Virginio Orsini, duca di Bracciano. Nel 1876 divenne sede dell’ospizio per orfanelli detto “Tata Giovanni” e rimase tale fino al 1926 quando l’istituto si trasferì e la chiesa venne sconsacrata e adibita a magazzino di legname. Nel 1986 viene affittata dal Comune di Roma all’Accademia del Superfluo di cui ancora oggi è la sede.</span></div><b><i><span style="font-family: "Book Antiqua","serif"; font-size: 24pt; line-height: 115%;"><br />
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<div class="MsoNormal"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt;"></span><i><span style="font-family: "Book Antiqua","serif"; font-size: 20pt; line-height: 115%;"> </span></i></div><div class="MsoNormal" style="line-height: normal;"><b><i><span style="font-family: "Book Antiqua","serif"; font-size: 24pt;">Lucifero, il patto con l'arte</span></i></b></div><div class="MsoNormal" style="line-height: normal;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 16pt;">Tratto da “La Repubblica”</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-family: "Times New Roman","serif"; font-size: 14pt;">..Lucifero, dato il nome, non poteva che rifugiarsi in una chiesa sconsacrata.</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-family: "Times New Roman","serif"; font-size: 14pt;">Dove c'era Santa Maria in Grottapinta, minuscola chiesetta cinquecentesca, oggi fiorisce l'Accademia del Superfluo, scuola di arti decorative diretta da questo giovane nobile che mescola il sangue del pittore d'Abruzzo, Francesco Paolo Michetti, con quello della genìa dei Lucifero, ambasciatori e uomini di Stato fin dall'Ottocento. </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-family: "Times New Roman","serif"; font-size: 14pt;">Roberto Lucifero, bellissimi occhi azzurri sulla faccia abbronzata, è una celebrità nel suo campo, imbattibile nell'accontentare, a colpi di pennello, principi sauditi e regnanti ispanici, facoltosi americani ed esigenti signori dell'alta borghesia romana, distillando gocce di spirito romano antico mescolato a sapiente rilettura dell'iconografia seicentesca o neoclassica per un tripudio di trompel'oeil e ghirlande, putti e prospettive pompeiane rielaborate, rinnovate, di nuovo moderne, tanto da diventare il giusto arredo per gli interni delle abitazioni e residenze di mezzo mondo. Negli ultimi anni, con la sua squadra di decoratori ha ridato colore e restituito l'anima a un paio di grandi alberghi romani. Come il Grand Hotel, dove ha realizzato centoquarantadue vedute di Roma, una per ogni stanza, che ora prende così nome dal monumento raffigurato, più un grande affresco nella hall dove si vedono viaggiatori del passato come Goethe, Madame de Stael e Horace Walpole. E di artistico, ha curato l'allestimento della sezione romana della mostra su Cleopatra a Palazzo Ruspoli. Ma un dettaglio va chiarito: anche Roberto Lucifero, come tante altri menti dedite ad arti varie, per trovare il vero successo s'è dovuto fare un po' emigrante, e infatti i suoi committenti, per gli alberghi, come per altri lavori di tutto rilievo, sono stati gli americani. Ora, la "Lucifero srl" è pronta allo sbarco in grande negli Stati Uniti: se già da tempo Roberto, insieme ad Andrea Conti, suo socio da una vita, ha trovato una base a Miami, il duo si prepara ad allestire con una megamostracampionario dei lavori, una intera warehouse, sempre in Florida. Nel frattempo Lucifero si divide tra la casa di San Salvatore in Campo e Island Avenue, porta due orologi, con i due orari di Roma e Miami. E l'angolo romano dove spende la sua vita privata è settimanalmente teatro di un piccolo ritrovo: la casa è un labirinto ridondante pitture e argenti, antiquariato e tendaggi oltre ai trompe l'oeil del soggiorno e della camera da letto, azzurra come un ninfeo imperiale decorato di conchiglie. racconta Lucifero «Io mi considero il reponsabile di una bottega artigiana ma anche il progettista della mia azienda». </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><br />
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</div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><div class="MsoNormal" style="line-height: normal;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 20pt;">Alcune delle mostre..</span></div><div class="MsoNormal" style="line-height: normal;"><br />
</div><div class="MsoNormal" style="text-align: center;"><i><span style="font-family: "Book Antiqua","serif"; font-size: 20pt; line-height: 115%;">“Sublime disfacimento”</span></i></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv_oQ572dlWft8z4h8GEaoNW2vGyHEYt2pBIs2Lld_htMkj03SdV54QXP7Oghv_UoUFjqPE53UOYz3Q5tlWywGPIr1-Wzr1l8DnwIGKlpG_mR-OlasJc5Q8BNyQpZOVNSoA3-k6urjMKY/s1600/rev42633%25281%2529-ori.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv_oQ572dlWft8z4h8GEaoNW2vGyHEYt2pBIs2Lld_htMkj03SdV54QXP7Oghv_UoUFjqPE53UOYz3Q5tlWywGPIr1-Wzr1l8DnwIGKlpG_mR-OlasJc5Q8BNyQpZOVNSoA3-k6urjMKY/s320/rev42633%25281%2529-ori.jpg" width="320" /></a></div><div class="MsoNormal"><br />
</div><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent><u><span style="font-family: "Book Antiqua","serif"; font-size: 14pt; line-height: 115%;">50 artisti per raccontare il riciclo virtuoso dei </span><span style="font-family: "Maiandra GD","sans-serif"; font-size: 36pt; line-height: 115%;">rifiuti</span></u></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div></div><div class="MsoNormal"><u><span style="font-family: "Book Antiqua","serif"; font-size: 22pt; line-height: 115%;"><br />
</span></u><u><span style="font-family: "Book Antiqua","serif"; font-size: 14pt; line-height: 115%;"></span></u></div><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;">Fiumi di parole si spendono per parlare di spazzatura, nuovo tabù dell’era contemporanea.</span><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">.</span></span><br />
<div class="MsoNormal"><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; line-height: 115%;"> </span><span style="font-family: "Book Antiqua","serif"; font-size: 14pt; line-height: 115%;"></span></div><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;">Il Centro Studi Cappella Orsini propone una grande mostra di oltre 80 opere di pittori contemporanei che idealizzano i<u> rifiuti</u> riqualificandoli come soggetti artistici per ricordare che <u>la spazzatura è fonte di nuove risorse e di nutrimento organico per le piante e quindi riciclo efficiente. </u></span></div><div class="MsoNormal"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;"><br />
Le opere in mostra sono infatti suddivise in due grandi sezioni: rifiuti organici e rifiuti inorganici permettendo al visitatore di percepirne la grande differenza e invitandolo così a partecipare attivamente alla raccolta differenziata dei rifiuti e fornendo informazioni preziose per capire meglio come i rifiuti possono diventare una nuova ricchezza grazie alla partecipazione attiva del cittadino.<br />
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L’intera mostra è dedicata a Pier Paolo Pasolini che è diffusamente presente attraverso video di alcuni suoi film che trattano il tema dei rifiuti come: “Cosa sono le nuvole” del 1964 , “Uccellacci uccellini” del 1965 e il documentario ancora inedito sui netturbini romani girato in occasione del famoso sciopero del 1970. <br />
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La sezione in cui vengono trattati i rifiuti metallici è dedicata all’artista statunitense Jack Frankfurter che ha realizzato molte opere sull’argomento e che rappresenta l’ospite d’onore della mostra con ben 9 opere esposte nell’abside della ex chiesa di Santa Maria in Grottapinta .</span></div><div class="MsoNormal"><br />
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<div style="color: #cccccc; text-align: center;"><i><span style="font-family: "Book Antiqua","serif"; font-size: 20pt; line-height: 115%;">“Oltre le mura”</span></i><br />
<i><span style="font-family: "Book Antiqua","serif"; font-size: 20pt; line-height: 115%;"> </span></i><b><i><span style="color: black; font-family: "Book Antiqua","serif"; font-size: 20pt; line-height: 115%;"> </span></i></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJV-PyqOzp91Y_cZhSYaXdniP1PlKbHtcND_5XwV_M9qIxXh7ksFaiZpj1v8uKv9S03vVVUCMdlrzbM1udMhMGUsMN6CmTANFLzy43IvtvUPmcGjZllLqpGFuiwLu2V1ni5z_4lbQd9dY/s1600/rev66747%25281%2529-ori.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJV-PyqOzp91Y_cZhSYaXdniP1PlKbHtcND_5XwV_M9qIxXh7ksFaiZpj1v8uKv9S03vVVUCMdlrzbM1udMhMGUsMN6CmTANFLzy43IvtvUPmcGjZllLqpGFuiwLu2V1ni5z_4lbQd9dY/s320/rev66747%25281%2529-ori.jpg" width="320" /></a></div><div style="text-align: center;"><b><i><span style="color: black; font-family: "Book Antiqua","serif"; font-size: 20pt; line-height: 115%;"> </span></i></b></div><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> <m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;">Il I Municipio e il Centro Studi Cappella Orsini propongono una mostra-concorso dal titolo OLTRE LE MURA: le mura aureliane da struttura di difesa a luogo di soglia virtuale e di abbraccio tra culture diverse e diverse forme espressive. <br />
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La mostra si pone l'obbiettivo di registrare il rapporto con la città nelle molteplici visioni e nelle molteplici ricerche artistiche.</span></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
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<div class="MsoNormal" style="color: #cccccc; text-align: center;"><b><i><span style="font-family: "Book Antiqua","serif"; font-size: 20pt; line-height: 115%;">Mystic City.</span></i></b></div><div style="color: #cccccc;"></div><div class="MsoNormal" style="color: #cccccc; text-align: center;"><b><i><span style="font-family: "Book Antiqua","serif"; font-size: 20pt; line-height: 115%;"> "Le città-metafora dentro e fuori (in)visibili mura"</span></i></b></div><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-mb6EdFcMiWSYkLlfq0vMvyaUmYxo2Q5d8wtt_037ZGK9u6O5ZC4TyIW0-5XKUsuXQVxjjmMtuJwv_Ycr3uX-7QkiCXaJZKQlA-DUpkrluceZ3VGVILsT4I_LP_rHdxTLu8bc7K7QKOU/s1600/rev79579%25281%2529-ori.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-mb6EdFcMiWSYkLlfq0vMvyaUmYxo2Q5d8wtt_037ZGK9u6O5ZC4TyIW0-5XKUsuXQVxjjmMtuJwv_Ycr3uX-7QkiCXaJZKQlA-DUpkrluceZ3VGVILsT4I_LP_rHdxTLu8bc7K7QKOU/s320/rev79579%25281%2529-ori.jpg" width="320" /></a></div><br />
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<div class="MsoNormal" style="color: #cccccc;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;">Una collettiva inedita di artisti nazionali e internazionali che utilizzano <u><b>la luce</b></u> per creare metropoli reali e immaginarie.</span></div><span style="color: #cccccc; font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;">Gli artisti utilizzano la luce per creare metropoli reali e immaginarie; I visitatori, aggirandosi tra leggeri colonnati, torri di luce, installazioni e insegne, scoprono che i materiali scelti dialogano tra loro con bagliori e riverberi e finiscono per assumere straordinarie valenze pittoriche.<br />
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Il risultato è la possibilità di confrontarsi con un’idea di città mistica e utopica dove un impalpabile colonnato che evoca Sol Lewitt si innesta su lame luminose che trafiggono irraggiungibili grattacieli di acciaio il tutto alla luce di insegne luminose di immaginarie botteghe scandito dal tempo che passa. </span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"></div><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"><m:smallfrac m:val="off"><m:dispdef><m:lmargin m:val="0"><m:rmargin m:val="0"><m:defjc m:val="centerGroup"></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><div style="text-align: center;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><h1 style="text-align: center;"><i><span style="font-family: "Book Antiqua","serif"; font-size: 20pt;">"Il risveglio della Grande Madre"<span style="font-size: small;"> </span></span></i></h1><h1 style="text-align: center;"><i><span style="font-family: "Book Antiqua","serif"; font-size: 20pt;"><span style="font-size: small;"> </span> </span></i></h1><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdZvkvgCGEFsvRtSUNnIK2uvUHi4NjkpQpC6yzLlCk_MdxbSddZ96nNInXK1Gy4uqW9mY6YVY5F8EgAqSwPw_MTZJ2oC13dELlbLjcOfqL6vz6GioysTbrEIKCjQcGNB2t6lV_hrRfyyA/s1600/1207736649b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdZvkvgCGEFsvRtSUNnIK2uvUHi4NjkpQpC6yzLlCk_MdxbSddZ96nNInXK1Gy4uqW9mY6YVY5F8EgAqSwPw_MTZJ2oC13dELlbLjcOfqL6vz6GioysTbrEIKCjQcGNB2t6lV_hrRfyyA/s320/1207736649b.jpg" width="243" /></a></div><h1 style="text-align: center;"><i><span style="font-family: "Book Antiqua","serif"; font-size: 20pt;"> </span></i></h1><h1 style="text-align: center;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></h1><div class="MsoNormal"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;">E’ un progetto incentrato sulla valorizzazione del rapporto Uomo -Natura, con una serie manifestazioni ed iniziative d’educazione ambientale in rete all’interno della Regione Lazio.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;"> </span> <m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent><span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;">LA GRANDE MADRE è una mostra che cerca di indurre il visitatore a intraprendere un viaggio a ritroso nella propria percezione e a impossessarsi di quelle qualità che i cibi cucinati con prodotti agricoli “tradizionali” avevano.</span><span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;"> </span></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div><h1 style="text-align: center;"><i><span style="font-family: "Book Antiqua","serif"; font-size: 20pt;"> </span></i></h1> <span style="font-family: "Maiandra GD","sans-serif"; font-size: 14pt; line-height: 115%;"><br />
</span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-37185070310535378552011-05-11T01:20:00.000-07:002011-05-11T01:33:45.931-07:00<m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> <m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div style="margin-left: -7.1pt;"><b><span style="font-family: "Book Antiqua","serif"; font-size: 20pt;">Contesto</span></b></div><div style="margin-left: -7.1pt;"><br />
</div><div style="margin-left: -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">E’un fondamentale strumento del progetto in cui ricercare le tracce, la stratificazione storica, i nuclei ed i tracés ordinateurs. </span></div><div style="margin-left: -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Include e reinventa una sorta di tettonica dei flussi che è divenuta nucleo generatore del progetto all’interno della condizione urbana contemporanea. Questa stessa si rivela subito come ibrida, contaminata, dis-ordinata e frammentata</span></div><div style="margin-left: -7.1pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><b><u><span style="font-family: "Georgia Ref","serif"; font-size: 16pt;">Significato di contesto</span></u></b></div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><b><span style="color: #76923c; font-family: "Georgia Ref","serif"; font-size: 16pt;">contesto</span></b><i><u><span style="color: #76923c; font-family: "Book Antiqua","serif"; font-size: 16pt;"></span></u></i></div><div class="MsoNormal" style="margin-left: -7.1pt;"><b><i><span style="font-family: "MS Reference Sans Serif","sans-serif"; font-size: 10pt; line-height: 115%;">A </span></i></b><i><span style="font-family: "MS Reference Sans Serif","sans-serif"; font-size: 10pt; line-height: 115%;">part. pass. di contessere ; anche agg.</span></i><span style="font-family: "MS Reference Sans Serif","sans-serif"; font-size: 10pt; line-height: 115%;">Tessuto insieme. <b><i>B </i></b><i>s. m. <b>1 </b></i>Tessitura, intreccio. <b><i>2 </i></b>Insieme delle idee e dei fatti contenuti in un testo o in un discorso, che consente di determinare il senso di un brano o di una parola che in tale testo o discorso compaiono <b>| </b>(<i>est.</i>) Il complesso delle circostanze in cui nasce e si sviluppa un determinato fatto: <i>contesto familiare</i>.</span></div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">La parola contesto è associata prima di tutto alla parola tessitura</span></div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">“<i><u>il contesto è un insieme di fili..è una tessitura</u></i>”</span></div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span class="text"><i><u><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">“E’ una rete mutevole che determina una griglia spazio-temporale che risulta formata e deformata dall'architettura” </span></u></i></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span class="text"><i><u><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;"><br />
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<div style="margin-left: -7.1pt;"><b><span style="font-family: "Book Antiqua","serif"; font-size: 20pt;">“Il vassoio”</span></b></div><div style="margin-left: -7.1pt;"><i><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">“L’architettura è il gioco sapiente, rigoroso e magnifico dei volumi assemblati nella luce. I nostri occhi sono fatti per vedere le forme nella luce: le ombre e le luci rivelano le forme, i cubi, le sfere, i cilindri o le piramidi sono le grandi forme primarie che la luce esalta; l’immagine ci appare netta e tagliente, senza ambiguità. (Le Corbusier)</span></i></div><div style="margin-left: -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Secondo Le Corbusier il suolo era un naturale vassoio; il terreno doveva configurarsi come una lastra piana, prevalentemente verde, con alberi, piccoli sentieri. Su di esso, sollevati su pilastri in modo da non interrompere la continuità del suolo, si posano gli edifici e, di nuovo sopraelevate, corrono, su viadotti, le strade.</span></div><div style="margin-left: -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Dominava l’opposizione figura/sfondo: l’architettura non doveva raccordarsi al paesaggio ma contrapporvisi.</span></div><div style="margin-left: -7.1pt;"><u><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Gli edifici sono legati tra loro per contrapposizione </span></u></div><div style="margin-left: -7.1pt;"><u><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;"><br />
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</span></span></u></div><div style="margin-left: -7.1pt;"><b><span style="font-family: "Book Antiqua","serif"; font-size: 20pt;">“Il tessuto”</span></b></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Agli inizi degli anni ’60 si va affermando un nuovo modo di operare che rappresenta una critica al modello per case alte isolate e immerse nel verde.</span></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Si tratta di un ribaltamento, si procede “dal basso” formando le trame entro le quali possono ricadere le variazioni dello spazio. </span></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Il terreno non è più un vassoio su cui poggiare i volumi, ma una mappa, un tappeto da progettare come un insieme in cui interagiscono spazi, strade, edifici..</span></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><br />
</div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">I progetti risultano governati da una<span style="color: #c00000;"> <b style="color: #999999;"><u><span style="font-size: large;">GRIGLIA</span></u></b></span>, ma dentro la griglia ciascuna volta si gioca la partita del progetto con una serie di variazioni.</span></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><br />
</div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><u><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">La griglia si svuota, si apre e si chiude, crea un <i>continuum</i> di relazioni ..</span></u></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><br />
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<div style="margin-left: -7.1pt;"><b><span style="font-family: "Book Antiqua","serif"; font-size: 20pt;">“I vuoti”</span></b></div><div style="margin-left: -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Il territorio urbanizzato si presenta come una trama di segni, tracciati viari o divisioni, che si manifestano soprattutto nelle aree non edificate, negli spazi SOLO apparentemente vuoti..</span></div><div style="margin-left: -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Il destino di molti spazi vuoti del tessuto urbano è quello di trasformarsi in pieni.</span></div><div style="margin-left: -7.1pt;"><i><span style="font-family: "Book Antiqua","serif"; font-size: 16pt;">“Lo spazio che sta tra le cose è divenuto vuoto perché privo di un ruolo riconoscibile, a quello spazio si chiede solo di essere permeabile, di lasciarsi percorrere frapponendo il minimo di resistenza”. (Bernardo Secchi)</span></i></div><div style="margin-left: -7.1pt;"><br />
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<div style="color: #6aa84f; margin-left: -7.1pt;"><b><u><span style="font-family: "Book Antiqua","serif"; font-size: 22pt;">Contesto luogo</span></u></b></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Due elementi contribuiscono alla creazione delle griglie:</span></div><div style="margin: 0cm 0cm 0.0001pt 10.9pt; text-indent: -18pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">-<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">un reticolo rigido ma non regolare dato dalle linee-guida dell’area e dalle linee che hanno guidato lo sviluppo dell’edificazione all’interno di essa.</span></div><div style="margin: 0cm 0cm 0.0001pt 10.9pt; text-indent: -18pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">-<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">le curve di livello del Parco della Caffarella e del Parco delle Tombe Latine, sono elementi più liberi e fluidi che in alcuni casi sembrano voler invadere il costruito</span></div><div style="margin: 0cm 0cm 0.0001pt 10.9pt; text-indent: -18pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZcGISZzu8FeVHZT_mgMscsj0PsgotuBaJH0t1kboWCGqUEpdPCSN5sFJbYq1HakNbzxwq9Vx2wPR37SH04S7dI3Wpo-Q-Vj-tsgtH9zGqMcx4tzapWU7OcepSTZ3pvGVpC3SgYzDS6Lc/s1600/Immagine+213.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZcGISZzu8FeVHZT_mgMscsj0PsgotuBaJH0t1kboWCGqUEpdPCSN5sFJbYq1HakNbzxwq9Vx2wPR37SH04S7dI3Wpo-Q-Vj-tsgtH9zGqMcx4tzapWU7OcepSTZ3pvGVpC3SgYzDS6Lc/s320/Immagine+213.jpg" width="320" /></a></div><div style="margin: 0cm 0cm 0.0001pt 10.9pt; text-indent: -18pt;"><br />
</div><div style="margin: 0cm 0cm 0.0001pt 10.9pt; text-align: center; text-indent: -18pt;"><div style="color: #990000; text-align: center;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;"> </span><b style="color: #cccccc;"><span style="font-family: "Book Antiqua","serif"; font-size: 20pt;">La griglia</span></b><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie6DU7bIWFeu-UnHmoPInwZjqq_9I8BKCReA-Fx_6CUbtmKsFvhbf0GK68lwnBr-om9QvSkm9ngKpDAutBepZWF-NvNY9LHe2M0viI_JABoKScq0Ndl3y8qyuM1J2_BTcjZt6aIZD3qJs/s1600/Immagine+226.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie6DU7bIWFeu-UnHmoPInwZjqq_9I8BKCReA-Fx_6CUbtmKsFvhbf0GK68lwnBr-om9QvSkm9ngKpDAutBepZWF-NvNY9LHe2M0viI_JABoKScq0Ndl3y8qyuM1J2_BTcjZt6aIZD3qJs/s320/Immagine+226.jpg" width="320" /></a></div><div style="text-align: left;"><br />
<div style="text-align: left;"><br />
</div></div></div><div class="separator" style="clear: both; text-align: center;"></div><div style="margin: 0cm 0cm 0.0001pt;"> <div class="MsoNormal" style="margin-bottom: 0.0001pt;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 16pt; line-height: 115%;">La prima griglia è data da una sovrapposizione di linee, dettate da una prima lettura del contesto, che mi determinano un reticolo rigido ma non regolare. </span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 16pt; line-height: 115%;"><br />
</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><span style="font-family: "Maiandra GD","sans-serif"; font-size: 16pt; line-height: 115%;">A questa prima griglia ho pensato di sovrapporne una seconda molto più libera e fluida; in particolare si vede come queste forme così sinuose, partendo dal Parco della Caffarella, da cui sono state generate, si inseriscono nello Urban Void 47.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0.0001pt;"><span style="font-size: 16pt; line-height: 115%;"> </span><i><span style="font-size: 15pt;">“..Alle scoperte delle griglie Eisenman aggiunge una tecnica di grande fascino perché dà una risposta finalmente innovativa a un vecchio problema della nuova architettura: il MOVIMENTO..”</span></i></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><span style="font-size: large;"><span style="font-family: "Maiandra GD","sans-serif"; line-height: 115%;"> </span></span></div><br />
<div style="text-align: center;"><b style="color: #cccccc;"><span style="font-size: 20pt;">Sovrapposizione di griglie</span></b></div></div><div style="margin: 0cm 0cm 0.0001pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdiZlqo3f0JB0HQAQHGFWzRlvLGbqFmCgKLROa8BWJtVwJDsPLtj4ctrSm15o9yJubsVakcsoysQo3EzhER44lOxiUK8EWkSfcErWNrkoeLb6Jan3LS0r7WTDmJ8u-OnHpNNKMQL2mYkI/s1600/Immagine+223.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdiZlqo3f0JB0HQAQHGFWzRlvLGbqFmCgKLROa8BWJtVwJDsPLtj4ctrSm15o9yJubsVakcsoysQo3EzhER44lOxiUK8EWkSfcErWNrkoeLb6Jan3LS0r7WTDmJ8u-OnHpNNKMQL2mYkI/s320/Immagine+223.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div style="margin: 0cm 0cm 0.0001pt;"><br />
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<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><b><u><span style="font-family: "Georgia Ref","serif"; font-size: 16pt;">Il contesto ha caratteristiche spirituali</span></u></b><span class="text"><i><u><span style="font-family: "Book Antiqua","serif"; font-size: 16pt;"></span></u></i></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt -7.1pt;"><br />
</div><div style="margin-left: -7.1pt;"><b><span style="font-family: "Book Antiqua","serif"; font-size: 20pt;">L’origine di Roma</span></b></div><div style="margin-left: -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Roma ha un forte legame con la natura, ha un’anima organica poiché appartiene anche geograficamente ad un’area fortemente collinare nata da un’attività vulcanica</span></div><div style="margin-left: -7.1pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkQYQxLPzbvGmAU0rfvzOdDxaRQZf5HSZDPboJlF4zNuKGZkmT9RjT2tM8Z8n1W0Ufl9UJNYxsMR5NgqWwCY3Yo8Xcf7ezzhN4CnPWwAnCG-4rni4M7Wq7JjK3E8Mr_xOTbXfBcI-aCGU/s1600/vulcano2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkQYQxLPzbvGmAU0rfvzOdDxaRQZf5HSZDPboJlF4zNuKGZkmT9RjT2tM8Z8n1W0Ufl9UJNYxsMR5NgqWwCY3Yo8Xcf7ezzhN4CnPWwAnCG-4rni4M7Wq7JjK3E8Mr_xOTbXfBcI-aCGU/s320/vulcano2.jpg" width="320" /></a></div><div style="margin-left: -7.1pt;"><br />
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</div><div style="color: #6aa84f; margin-left: -7.1pt;"><b><u><span style="font-family: "Book Antiqua","serif"; font-size: 22pt;">Contesto ambientale</span></u></b></div><div style="color: #6aa84f; margin-left: -7.1pt;"><b><u><span style="font-family: "Book Antiqua","serif"; font-size: 18pt;">Corridoio ecologico</span></u></b></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">L’idea è quella di creare un corridoio ecologico, un <u>LANDMARK </u>riconoscibile in grado di correlare la continuità degli elementi naturali con le reti infrastrutturali, un percorso verde che, dalla metro mi consente di poter giungere alle importanti risorse di cui l’area è dotata: il parco della Caffarella e il parco delle Tombe Latine.</span></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">I collegamenti da me ipotizzati hanno lo scopo di condurre alle preziose testimonianze archeologiche a cui si somma un notevole patrimonio naturalistico. </span><br />
<b><u style="color: #6aa84f; font-family: Times,"Times New Roman",serif;"><span style="font-size: 18pt;">Percorso ciclo-pedonale</span></u><u><span style="font-size: 18pt;"><br />
</span></u></b></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">Il corridoio sarà un percorso ciclo-pedonale con inizio nello urban void 6, adiacente alla fermata della metro Colli Albani. Sono stati pensati spazi informativi culturali ed espositivi negli urban void 8, 37 ed 11, un Centro per lo sviluppo dell'Arte e della Cultura nello urban void 47 e ingressi al Parco della Caffarella e delle Tombe Latine.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSkTsNva8GBwfNxKaGfONmjmq-JYj9uUcFrlqGCSh7NdFK5wdcf4MOgxnik2HrVWUIgWAem4BXbg1WRIucaILE-hmKXM-jZwRhtOKo1VdsY0_6gOUdNx9_kwcjNxqv-Vl1-yQqh6nKwiA/s1600/Immagine+229.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSkTsNva8GBwfNxKaGfONmjmq-JYj9uUcFrlqGCSh7NdFK5wdcf4MOgxnik2HrVWUIgWAem4BXbg1WRIucaILE-hmKXM-jZwRhtOKo1VdsY0_6gOUdNx9_kwcjNxqv-Vl1-yQqh6nKwiA/s320/Immagine+229.jpg" width="230" /></a></div></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt; text-align: center;"><b><u style="color: #6aa84f;"><span style="font-size: 18pt;"><span style="font-family: Times,"Times New Roman",serif;">Green Line </span></span></u></b></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgazhyHDfTqXxH4fbQIIieNQvTimbFiHwRZgXEVwLkdeN3eMoGt3w7My-ZHkQXOzYwY7AxH0oKh85q3n4TGcHPcLEv5ZvQCOdkY1vn9fhjTc85nwlS52XIG3fPRWWBexAbrgRCv17aONrY/s1600/Immagine+227.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgazhyHDfTqXxH4fbQIIieNQvTimbFiHwRZgXEVwLkdeN3eMoGt3w7My-ZHkQXOzYwY7AxH0oKh85q3n4TGcHPcLEv5ZvQCOdkY1vn9fhjTc85nwlS52XIG3fPRWWBexAbrgRCv17aONrY/s320/Immagine+227.jpg" width="320" /></a></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt; text-align: center;"><b><u style="color: #6aa84f;"><span style="font-size: 18pt;"><br />
</span></u></b><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0u6Dl-2N-Z1pGUiR4glF-XFM21KuPgsl788rXSAKFbJL1CseMYL1IYlybxFQ9_nNL8WZhU3uPnOqOy8_twwstSux8S1a0AJUSLs4mPVEX41m5G_NGDJGQPFogCmtrw0fWyTXRbYxUDT4/s1600/Immagine+222.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0u6Dl-2N-Z1pGUiR4glF-XFM21KuPgsl788rXSAKFbJL1CseMYL1IYlybxFQ9_nNL8WZhU3uPnOqOy8_twwstSux8S1a0AJUSLs4mPVEX41m5G_NGDJGQPFogCmtrw0fWyTXRbYxUDT4/s320/Immagine+222.jpg" width="320" /></a></div><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;"><br />
</span></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;"> </span></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">All’interno di questo sistema lo Urban Void 47 contribuirà a rendere con forza il tema della <u style="color: #6aa84f;">SOSTENIBILITA’ AMBIENTALE</u>, del <u style="color: #6aa84f;">REBUILDING NATURE</u> e all’interno del centro molte opere saranno realizzate con <u style="color: #6aa84f;">MATERIALI RICICLABILI</u><span style="color: #943634;"> </span></span></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><br />
</div><div style="color: #6aa84f; margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">COSTRUIRE…INVENTARE…CREARE E RICREARE…</span></div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><br />
</div><div style="margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;">ma non solo..</span></div><div style="margin: 0cm 0cm 0.0001pt;"><br />
</div><div style="color: #6aa84f; margin: 0cm 0cm 0.0001pt -7.1pt;"><span style="font-family: "Book Antiqua","serif"; font-size: 15pt;"> L’ARCHITETTURA E’ UN SISTEMA VIVENTE..BISOGNA USARE VERBI <i>ANIMATI</i> COME RESPIRARE, SUDARE, TRASPIRARE…</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
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</div><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpaVZqOCnEgVCdU-hVSFqG0jMFNhlRLgIiirSi9F7Ph2tDb0U4z5xhj5SNRcxiKWdx9JWZj4FSdVcPPrSnQBgIiLhchDNgj8hzbKxcsrqvViCnVMX-m1RvrSf_aU2SPHryC9fYLvMY4lY/s1600/Senza+titolo-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpaVZqOCnEgVCdU-hVSFqG0jMFNhlRLgIiirSi9F7Ph2tDb0U4z5xhj5SNRcxiKWdx9JWZj4FSdVcPPrSnQBgIiLhchDNgj8hzbKxcsrqvViCnVMX-m1RvrSf_aU2SPHryC9fYLvMY4lY/s200/Senza+titolo-1.jpg" width="200" /></a></div><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-78646701998924756072011-05-06T13:53:00.000-07:002011-05-06T13:53:09.167-07:00<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:HyphenationZone>14</w:HyphenationZone> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>IT</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--> <m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent><!--[endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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<i><span style="font-family: "Book Antiqua","serif"; font-size: 19pt;">“Sin dall’inizio ho avuto la certezza che l’architettura proviene dalla terra e che il sito contribuisce a determinare la forma dell’edificio”</span></i><br />
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<span style="font-family: "Book Antiqua","serif"; font-size: 14pt;"><span> </span><span> </span><span> </span><span> </span>(Frank Lloyd Wright)</span><br />
</m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-62658775414000242132011-05-02T04:26:00.000-07:002011-05-02T04:37:38.428-07:00<div class="MsoNormal" style="line-height: 150%; text-align: left;"><u><span style="font-size: x-large;"><b><span lang="EN-GB"> <span style="color: grey;">Green Gorgon</span></span></b></span></u></div><div class="MsoNormal" style="line-height: 150%; text-align: left;"><br />
</div><i><span style="color: grey; font-size: x-large;"><span lang="EN-GB">Lausanne, Switzerland, 2005</span></span><br />
<span style="color: grey; font-size: x-large;"><span lang="EN-GB"> Architect: R&Sie </span></span></i><br />
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<div style="text-align: center;"><span style="color: grey; font-size: x-large;"><span lang="EN-GB"><span style="font-size: x-large;">Un nuovo compagno di strada!!??</span><br />
</span></span></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-78141088492607783122011-04-29T05:40:00.000-07:002011-04-30T06:46:15.469-07:00<m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal"><span style="font-family: "Tempus Sans ITC"; font-size: 16pt; line-height: 115%;">Abitare la piega vuol dire cercare sistemi di <i>ibridazione </i>tra le regole formative dell’architettura e quella della natura..vuol dire inserire nei nuovi corpi architettonici processi metabolici in cui piante, vegetazione, acquisizione e scambio di energia facciano parte integrante di uno statuto ibrido dell’architettura. Uno statuto in cui architettura stessa diventi progressivamente parte della natura.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12pt; line-height: 115%;">Tratto da Dalla scatola al Diagramma e Oltre</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><span style="font-family: "Tahoma","sans-serif"; font-size: 12pt; line-height: 115%;">Abitare la piega</span><br />
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<h3 class="post-title entry-title" style="font-family: Times,"Times New Roman",serif; text-align: center;"><span style="font-size: x-large;">Le pieghe dell'architettura contemporanea</span></h3><div align="center" class="MsoNormal" style="color: #999999; font-family: Times,"Times New Roman",serif; line-height: normal; text-align: center;"><span style="font-size: x-large;"><b><u><br />
</u></b></span></div><div class="MsoNormal" style="color: #999999; font-family: Times,"Times New Roman",serif; line-height: normal;"><span style="font-size: large;"><b>Peter Eisenman e Zaha Hadid sono stati decisivi per lo sviluppo della piega-suolo, partendo dalla decostruzione ne sviluppano la radicalità progettuale nella direzione di un nuovo suolo.</b></span></div><div class="MsoNormal" style="color: #999999; font-family: Times,"Times New Roman",serif; line-height: normal;"><span style="font-size: large;"><b>Il suolo perde il significato di piano astratto e si trasforma esso stesso in esperienza architettonica.</b></span></div><div class="MsoNormal" style="color: #999999; font-family: Times,"Times New Roman",serif; line-height: normal;"><span style="font-size: large;"><b>Come afferma Greg Lynn se l'architettura decotruttivista sfrutta forze esterne nel nome della contraddizione, recenti progetti della piega esibiscono una più fluida logica di connettività. Questo sistema unitario passa per un utilizzo profondo delle prospettive offerte dalla progettazione virtuale.</b></span></div><div class="MsoNormal" style="color: #999999; font-family: Times,"Times New Roman",serif; line-height: normal;"><span style="font-size: large;"><b>L'artificio ha inglobato la natura nel senso che non si pone la questione del rapporto con una natura da ripristinare o rinnovare architettonicamente, quanto con una nuova naturalità da incarnare nel fare architettonico.</b></span></div><div class="MsoNormal" style="color: #999999; font-family: Times,"Times New Roman",serif; line-height: normal;"><span style="font-size: large;"><b>Il cambio del rapporto tra natura e architettura ha una connotazione che si lega al passaggio epocale dall'era industriale all'era dell'informazione. Il nuovo suolo sembra incarnare la natura in tutte le sue forme, le architetture si fanno ibride..</b></span></div><div class="MsoNormal" style="color: #999999; font-family: Times,"Times New Roman",serif; line-height: normal;"><br />
</div><div class="MsoNormal" style="color: #999999; font-family: Times,"Times New Roman",serif; line-height: normal;"><span style="font-size: large;"><b>Molte architetture contemporanee si sviluppano in simbiosi con la terra. Il progetto di <span style="font-size: x-large;">François Roche </span>e <span style="font-size: x-large;">Stèphanie Lavaux</span> per un centro turistico in Giappone contiene nel suolo le nuove funzioni architettoniche e mantiene la natura in una condizione quasi selvaggia.</b></span></div><div class="MsoNormal" style="line-height: normal;"><br />
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<tr align="center"><td class="tr-caption"><h3 class="post-title entry-title" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> François Roche e Stèphanie Lavaux</span></h3><span style="font-size: small;">Centro turistico Echigo-Tsumari, Giappone 1999</span></td></tr>
</tbody></table><h3 class="post-title entry-title" style="font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-size: x-large;"><span style="font-size: large;"> </span></span></span></span></h3><h3 class="post-title entry-title" style="font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-size: x-large;"><span style="font-size: large;"> </span></span></span></span></h3><h3 class="post-title entry-title" style="font-family: Times,"Times New Roman",serif; text-align: center;"><span style="font-size: x-large;">R&Sie François Roche</span></h3><div style="color: #444444; font-family: Arial,Helvetica,sans-serif; text-align: left;"><table border="0" cellpadding="0" cellspacing="0" style="margin-left: 0px; margin-right: auto; text-align: left; width: 760px;"><tbody>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsAbTRwJEArPDP6v521t54V-msNh1Fs0vzWuH2v-fwz3TzSXOhb37C-m1gZR1AdsBhyphenhyphenSJTnEuywyRcVm1s2fLKs0rIXg9veWXsTphzUcnpzPni1nd6dQ-kdO0P9PAjQQHtneLR3Q3GrTM/s1600/roche53.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsAbTRwJEArPDP6v521t54V-msNh1Fs0vzWuH2v-fwz3TzSXOhb37C-m1gZR1AdsBhyphenhyphenSJTnEuywyRcVm1s2fLKs0rIXg9veWXsTphzUcnpzPni1nd6dQ-kdO0P9PAjQQHtneLR3Q3GrTM/s1600/roche53.jpg" /></a></div></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-35545385839592377562011-04-21T07:48:00.000-07:002011-04-29T06:46:04.428-07:00<div style="color: #999999; text-align: center;"><span style="font-size: x-large;"><i>Modi di comporre</i></span></div><div style="text-align: center;"><br />
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<div style="font-family: Times,"Times New Roman",serif; text-align: center;"><u><span style="font-size: x-large;"><i>Griglia 2D<span style="font-size: small;"> </span></i></span></u></div><div style="text-align: center;"><span style="font-size: x-large;"><i><span style="font-size: small;"><br />
</span></i></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWE8lWmgh8KOFcEgw8u6p-j4VJKTXGpmoYptY8B3YACoabmiZVzGKh8xL6roy349fNzRfvZqpLroZ1AitaRLxeSlGoFvxXNC1mmJ9XHOwpudMtc970gakAnk-B6iss7v0RuKRuZId6Z0/s1600/Immagine+203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWE8lWmgh8KOFcEgw8u6p-j4VJKTXGpmoYptY8B3YACoabmiZVzGKh8xL6roy349fNzRfvZqpLroZ1AitaRLxeSlGoFvxXNC1mmJ9XHOwpudMtc970gakAnk-B6iss7v0RuKRuZId6Z0/s320/Immagine+203.jpg" width="235" /></a></div><div style="font-family: Times,"Times New Roman",serif; text-align: center;"><span style="font-size: x-large;"><i><span style="font-size: xx-small;"><br />
</span></i></span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: large;"><i>Nella prima ipotesi considero l'area di intervento una scacchiera. </i></span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: large;"><i>La griglia è individuata dalle linee-guida del lotto e dai fabbricati esistenti.</i></span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="font-size: large;"><i>Su questa griglia muovo le "mie pedine" lungo gli assi x e y determinando così i pieni e i vuoti ovvero il costruito e i percorsi che nel mio progetto sono considerati dei "solchi"</i></span></div><div style="text-align: left;"><br />
</div><div style="text-align: center;"><u><span style="font-size: x-large;"><i><span style="font-size: xx-small;"><span style="font-size: large;"> </span></span></i></span><span style="font-size: x-large;"><i>Griglia 3D</i></span></u><br />
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<div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><i><span style="font-size: x-large;"><span style="font-size: small;"><span style="font-size: large;">Nella seconda ipotesi immagino di muovere le "mie pedine" in una griglia tridimensionale.</span></span></span></i></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><i><span style="font-size: x-large;"><span style="font-size: small;"><span style="font-size: large;">Il gioco che chiamerei Up and Down è quello di innalzare le pedine al di sopra del suolo urbano ma allo stesso tempo di inserirle nel suolo stesso creando un nastro che </span></span></span></i><span style="font-size: large;"><b>modella il suolo, lo scava e lo eleva per renderlo edificio.</b></span><b><i><span style="font-size: large;">..</span></i></b><br />
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</div><div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><b><span style="font-size: large;"><i>Ed è in questo senso che la "piega" mi aiuta nell'atto compositivo.</i></span></b><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikSl2TF19UF_IGwbjTGYTlwIkRrnmHTRQ3_J1xJwfqlrqbdF5h0C8lbg59M4GRsjX_My6HzqEoFzEWiKO4QRMESbzcbz5v2dV53J1pfG54DJ0KFPNuaqJfGxA0xByI_b411tGBcDAt3pc/s1600/abitarelapiega.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikSl2TF19UF_IGwbjTGYTlwIkRrnmHTRQ3_J1xJwfqlrqbdF5h0C8lbg59M4GRsjX_My6HzqEoFzEWiKO4QRMESbzcbz5v2dV53J1pfG54DJ0KFPNuaqJfGxA0xByI_b411tGBcDAt3pc/s320/abitarelapiega.jpg" width="234" /></a></div><br />
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</div><div style="font-family: Times,"Times New Roman",serif;"><i><span style="font-size: large;"><b>Franco Purini</b> parla del "piegare" come "prima operazione compositiva capace di dar luogo ad uno spazio" e sottolinea come la valenza dell'atto compositivo non cambi in presenza di linee curve o di un reticolo prospettico-cartesiano: "piegare è piegare sia nel mondo di Borromini sia nell'universo di Terragni". </span></i></div><div style="font-family: Times,"Times New Roman",serif;"><br />
</div><div style="font-family: Times,"Times New Roman",serif;"><i><span style="font-size: large;">Il concetto di "piega" che si pone in evidenza è in prima istanza quello dell'<u>architettura del suolo</u>, del landform, della piegatura o folding come operazione tettonica, stratigrafico-topografica che lavora facendo emergere o immergere strati e pieghe "geologiche" del palinsesto territoriale..</span></i></div><div style="font-family: Times,"Times New Roman",serif;"><br />
</div><div style="font-family: Times,"Times New Roman",serif;"><i><span style="font-size: large;"> Il suolo emerge come fondamentale elemento ed attore di un'architettura che riconosce da un lato il paesaggio come primo interlocutore e si costituisce inoltre come parte di esso, modificazione, alterazione, ibridazione dello stesso.</span></i></div><div style="font-family: Times,"Times New Roman",serif;"><i><span style="font-size: large;"> Questo particolare modo di concepire il progetto interpreta "intensamente" il rapporto tra edificio e suolo fino ad assumere quest'ultimo come elemento generativo dell'idea di architettura. </span></i></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-89233246403136785662011-04-19T09:50:00.000-07:002011-04-28T13:01:13.152-07:00<div style="color: white; text-align: center;"><div style="color: #999999;"><span style="font-size: x-large;"><u><i><b>"La piega"</b></i></u></span></div><div style="color: white;"><br />
</div><div style="color: white; font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: large;"><i>"Attraverso l'atto del piegare si conformano insieme le parti di un edificio e le articolazioni del paesaggio.."</i></span></div><div style="color: white; font-family: Times,"Times New Roman",serif; text-align: left;"></div><div style="color: white; font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: large;"><i> "<span style="background-color: #f3f3f3;"></span>La piega non è semplice estrusione...</i></span></div><div style="text-align: left;"><span style="font-size: large;"><i><span style="font-family: Times,"Times New Roman",serif; font-size: large;"><span style="color: white;"> ma contagia sia la pianta sia la sezione.." </span></span><b><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Abitare la piega..</span></span></td><td class="tr-caption" style="text-align: center;"><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Folding in Architecture..</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">La piega in natura..</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Le pieghe del Bernini..</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">Le pieghe di Gaudì..</span></span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-dSRMVq7amzg-_9k0IxnGln6Hdbct9b0JRGpNpla-38CBwVvA3mLaND9Hh0Seh8vqzQCV25AWMRXBVT2OAdZ70sbwSdcpwtwtRM8UgBamDxrHIqoAqogV6hg3CD7UYlz5Ky4Ok2t7tk4/s1600/1_zaha-hadid.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-dSRMVq7amzg-_9k0IxnGln6Hdbct9b0JRGpNpla-38CBwVvA3mLaND9Hh0Seh8vqzQCV25AWMRXBVT2OAdZ70sbwSdcpwtwtRM8UgBamDxrHIqoAqogV6hg3CD7UYlz5Ky4Ok2t7tk4/s320/1_zaha-hadid.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Folding nel design</span><br />
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</div><div style="font-family: Verdana,sans-serif; text-align: left;"><span style="font-size: small;">Sono immagini riassuntive di alcune categorie concettuali.. </span></div><div style="font-family: Verdana,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif; text-align: left;"><span style="font-size: small;"> Tra la percezione reale di queste architetture e l’interpretazione che ne facciamo, lo spiega molto bene Deleuze nel libro ‘La Piega’ che ho citato prima, esiste lo scarto di un’azione critica, per la quale l’arte è in grado di vedere nel corpo della città, la causa di quanto accade nel mondo.</span></div><div style="font-family: Verdana,sans-serif; text-align: left;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif; text-align: left;"><span style="font-size: small;"> Ma non esistono due mondi, due espressioni o due ‘esprimenti’ del mondo - come li chiama Deleuze - realmente distinti: uno come appare, l’altro come è rappresentato dalla realtà proposta dall’artista. Esiste l’autonomia reciproca delle due espressioni che sono realmente distinte, e tuttavia inseparabili.</span></div><div style="font-family: Verdana,sans-serif; text-align: left;"><span style="font-size: small;"><br />
In virtù di questa continua oscillazione l’opera dell’artista diventa progetto di scomposizioni e ricomposizioni dell’universo urbano, ri-configurato per <b>piegature</b>, ondulazioni, contrasti, deformazioni..</span></div><div style="text-align: left;"><br />
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<div style="text-align: center;"><span style="font-size: x-large;"><i><b>"Piegare" è dare forza alla materia</b></i></span><br />
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</div><div style="text-align: center;"><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-large;"><i>My bang... </i></span><span style="font-size: x-large;"><i><b>La piega</b></i></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-large;"><i><b>Fogli accartocciati </b></i></span></div><span style="font-size: x-large;"><i><b><br />
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</div><div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; text-align: left;"><i><span style="font-size: large;">Accartocciare dei fogli di carta mi sembrava l'esempio più convincente per rendere il concetto di <b style="color: #666666;">PIEGA</b><span style="color: #666666;"> </span>e di come questo "<u><span style="color: #999999;">atto compositivo</span></u>" consente di creare un nuovo <span style="color: #666666;">suolo urbano</span> che si eleva dal suolo originario, scava il terreno ed il territorio, facendone emergere creste e pieghe che alludono ad una architettura sotterranea.</span></i></div><div class="separator" style="clear: both; font-family: Times,"Times New Roman",serif; text-align: center;"></div><br />
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"></div><span style="font-size: x-large;"><i>Le griglie.. </i></span><br />
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<span style="font-size: x-large;"><i>Componenti dell'opera.. </i></span></div><div style="text-align: center;"><span style="font-size: x-large;"><i><br />
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</i><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">Muovendo gli spilli posso modificare gli elementi che compongono la scacchiera creando depressioni o avvallamenti.</span></span><br />
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<span style="font-size: x-large;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;">La piega mi consente di giocare soprattutto in sezione poichè la considero UN NASTRO </span></span><br />
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<span style="font-size: x-large;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;"><span style="font-size: large;"><i>Modella il suolo, lo scava e lo eleva per renderlo edificio..</i></span></span></span><br />
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<span style="font-size: x-large;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif; font-size: small;"><span style="font-size: large;"><i>Folding è un operazione che fa emergere o immergere strati e "pieghe geologiche" del palinsesto territoriale. </i></span></span></span></div><div style="text-align: center;"><div style="text-align: left;"><span style="font-size: x-large;"><i><br />
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<div style="text-align: center;"><span style="font-size: x-large;"><i>Studio di un'opera..</i></span><span style="font-size: x-large;"><i><span style="font-size: large;"> </span></i></span></div><div style="text-align: center;"><span style="font-size: x-large;"><i><span style="font-size: large;"> Città della Cultura della Galizia, Santiago de Compostela </span></i></span></div><div style="text-align: center;"><span style="font-size: x-large;"><i><span style="font-size: large;"> Peter Eisenman </span></i></span></div><div style="text-align: left;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBvLHakPuSh8nr6471ZFgC560CS8OV8vErB7-6j5AQiEWo0pApyv9zIHRnIetV4ku6nv4lwwygAevyerj_SrkffJbQa7_XkEUqj-YsrvxV7c3Rg4QwIcfiKJjoYJ0f_LMEJs-wOaO6SuU/s1600/eisenman_07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBvLHakPuSh8nr6471ZFgC560CS8OV8vErB7-6j5AQiEWo0pApyv9zIHRnIetV4ku6nv4lwwygAevyerj_SrkffJbQa7_XkEUqj-YsrvxV7c3Rg4QwIcfiKJjoYJ0f_LMEJs-wOaO6SuU/s320/eisenman_07.jpg" width="320" /></a></div><br />
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</div><div style="font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: large;">Il progetto non si articola in una serie di edifici separati, ma incide letteralmente le architetture nel terreno al fine di relizzare una struttura che consenta agli edifici e alla topografia di acquisire un ruolo figurale paritario nel paesaggio costruito.</span></div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><span style="font-family: Verdana,sans-serif; font-size: small;"><i><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">..il suolo può innalzarsi per diventare edificio e l'edificio può infilarsi al di sotto del suolo.. </span></span></i></span></div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><span style="font-family: Verdana,sans-serif; font-size: small;"><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">La terra anzichè essere concepita come fondo contro cui le costruzioni si pongono, diventa forma.</span></span></span></div><div style="text-align: left;"><span style="font-family: Verdana,sans-serif; font-size: small;"><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">E' un organismo figura-figura in cui architettura e topografia si fondono per diventare figure..</span></span></span></div><div style="text-align: left;"><br />
</div><div style="text-align: left;"><span style="font-family: Verdana,sans-serif; font-size: small;"><i><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">La terra è tagliata, scavata dai percorsi come in un processo naturale d'erosione.. </span></span></i></span></div><div style="text-align: left;"><br />
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</span></i></span></div><div style="text-align: center;"><span style="font-size: x-large;"><i>The concept..</i></span><span style="font-size: x-large;"><i><span style="font-size: large;"> </span></i></span></div><div style="text-align: left;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZokPBXp0FJ4ntw3Qlqv1plQC76x-fiPsGpkPNEw6FSzIfje0zIlvTENll8bOzU92A5ZOJt4pZQfHJvpyGPnRIzs1FTWBEhu1kcaxVJ-hFugJCGahbgnlkKcOH6xiaO_R8AGo2Tzu3OYY/s1600/eisenman_santiago_04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZokPBXp0FJ4ntw3Qlqv1plQC76x-fiPsGpkPNEw6FSzIfje0zIlvTENll8bOzU92A5ZOJt4pZQfHJvpyGPnRIzs1FTWBEhu1kcaxVJ-hFugJCGahbgnlkKcOH6xiaO_R8AGo2Tzu3OYY/s320/eisenman_santiago_04.jpg" width="239" /></a></div><div style="text-align: left;"><span style="font-size: x-large;"><i><span style="font-size: large;"><br />
</span></i></span></div><div style="font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: large;">L'idea è quella di creare un centro di promozione e tutela della cultura seguendo le esigenze proprie della società dell'informazione.</span></div><div style="font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: large;">L'obiettivo è quello di creare un organismo in cui sistemi d'informazione e arte, eredità culturale e tecnologie avanzate possono incontrarsi.</span></div><div style="font-family: Times,"Times New Roman",serif; text-align: left;"></div><div style="font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: large;">La collina viene scavata per accogliere l'edificio come se la struttura non fosse costruzione artificiale, bensì paesaggio naturale solcato dai percorsi.</span></div><div style="font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: large;">Le forme esterne non rivelano le funzioni interne, gli spazi accolgono le funzioni indefinitamente. In questo modo il progetto permette letture espandibili, mentre il programma può modificarsi liberamente.</span></div><div style="font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: large;"><br />
</span></div><div style="font-family: Times,"Times New Roman",serif; text-align: left;"><span style="font-size: large;">I sei edifici sono associati a due a due per creare l'effetto di un ritmo binato all'interno del sestetto. La prima coppia è costruita dal museo di Storia Galiziana e dal Centro per le nuove Tecnologie; la seconda dall'Auditorium per la musica e dall'edificio per i servizi culturali e l'amministrazione. La terza coppia è costituita dalla Biblioteca Galiziana e dall'Archivio dei periodici. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif; font-size: large;">L'esperienza dell'architettura da parte del visitatore sarà influenzata dalla relazione che ciascun edificio instaura col proprio partner diretto.</span></span></span><br />
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<div style="text-align: center;"><span style="font-size: x-large;"><i>La codificazione genetica..</i></span><br />
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</div><div style="text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5q_qoZGHEgRWsXJZ432g8uYdz8T2t4SS6NovwCXct2uQej2NqLn4RO7MioXCVTxWRjjVXQdZ2JMizeCdCcOqtNtt5UdzBoGqmulEUzcFlmKaZ12rbSWsdCga6hKKqT_zM8gctWTW6c6E/s1600/Immagine+134.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5q_qoZGHEgRWsXJZ432g8uYdz8T2t4SS6NovwCXct2uQej2NqLn4RO7MioXCVTxWRjjVXQdZ2JMizeCdCcOqtNtt5UdzBoGqmulEUzcFlmKaZ12rbSWsdCga6hKKqT_zM8gctWTW6c6E/s320/Immagine+134.jpg" width="316" /></a></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: left;"><br />
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<span style="font-size: x-large;"><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">Tre <b>diagrammi </b>della pianta medievale della città,della conchiglia e del cammino dei pellegrini costituiscono la fonte genetica originale</span></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">del progetto.</span></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">La deformazione del primo strato diagrammatico (la griglia della città) mediante la sovrapposizione dei due successivi e il processo conclusivo di torsione indotto dall'introduzione di linee di deformazione e di flusso crea un programma genetico interno che li trasforma in dispositivi di codifica.</span></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">Il centro originale di Santiago è medievale ma si adatta al modello cartesiano che è la base dell'urbanismo a maglia ortogonale figura-sfondo, laddove gli edifici sono i </span></span></span><span style="font-size: x-large;"><span style="font-size: large;">"</span></span><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">pieni" e le strade i "vuoti" residuali. Posizionando il centro cittadino originario dentro il terreno del sito, si supera questo organismo figura-sfondo.</span></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="font-size: large;"><span style="font-family: Times,"Times New Roman",serif;">I percorsi dei nuovi pellegrinaggi si fondono con la griglia iniziale, deformando, nel farlo, tanto la griglia quanto le relative strade e edifici.</span></span></span><br />
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<div style="text-align: center;"><span style="font-size: x-large;"><i>La griglia..</i></span></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3pxWntg-5F2s8MdFFGEPkptn_msXgmQphTeWp2BKU8dK9NO2IDk-cP6rewUUrgoMK3yCqW_DXISlVjIBRHR1RIZ6LszTIiEd5bh3dtDfOzQpOR_G1_zv_tbGGTUTShFfIL2ReQditns/s1600/Immagine+162.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><strike><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3pxWntg-5F2s8MdFFGEPkptn_msXgmQphTeWp2BKU8dK9NO2IDk-cP6rewUUrgoMK3yCqW_DXISlVjIBRHR1RIZ6LszTIiEd5bh3dtDfOzQpOR_G1_zv_tbGGTUTShFfIL2ReQditns/s320/Immagine+162.jpg" width="320" /></strike></a></div><br />
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<div style="text-align: center;"><span style="font-size: x-large;"><i>La piega..</i></span><br />
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</div><div style="text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUh2A3-hlnz63TPBooWhf-f_0bDGoljcl9lB4imPesCZ9MbCAjqzJfD1zBJH5hGURqAbeb6lq2J5EQA0ypcPAS0tqemsvV3MirxnkXxxtz5UBa26nc39tD0rWqP-hAdoDds7ZMzm13LCE/s1600/Immagine+163.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUh2A3-hlnz63TPBooWhf-f_0bDGoljcl9lB4imPesCZ9MbCAjqzJfD1zBJH5hGURqAbeb6lq2J5EQA0ypcPAS0tqemsvV3MirxnkXxxtz5UBa26nc39tD0rWqP-hAdoDds7ZMzm13LCE/s320/Immagine+163.jpg" width="320" /></a></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"><br />
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<span style="font-size: x-large;"><i>" I solchi"</i></span><br />
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</div><div style="text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjMODiUwHnanZtgQoQwyn5PHzPttLZpVcDnYmB09nF9Ypm0uNPA-CO1ohDP2zoXFTaTt84BkhpsLG9dFB5_L8vSFDnwoqXzxSOYtHPPUjmJJM0b5mnxG3g9VBqfVs8jfGIctNNpWUyhJ0/s1600/Immagine+165.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjMODiUwHnanZtgQoQwyn5PHzPttLZpVcDnYmB09nF9Ypm0uNPA-CO1ohDP2zoXFTaTt84BkhpsLG9dFB5_L8vSFDnwoqXzxSOYtHPPUjmJJM0b5mnxG3g9VBqfVs8jfGIctNNpWUyhJ0/s320/Immagine+165.jpg" width="320" /></a></div><div style="text-align: center;"></div></div></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com2tag:blogger.com,1999:blog-8339654673813256008.post-60343847515160892912011-04-17T12:37:00.000-07:002011-04-19T10:01:19.540-07:00<span style="font-size: large;"><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr">FOLDING IN ARCHITECTURE..</m:narylim></m:intlim></m:wrapindent></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac></span><br />
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</m:narylim></m:intlim> </m:wrapindent> </m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac><br />
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">Sono a pagina 416 del libro “Architettura e Modernità” – Dal Bauhaus alla rivoluzione informatica e leggo:</span></div><div align="center" class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt; text-align: center;"><span style="font-size: small;"><br />
</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: large;"><b>Processi e diagrammi</b></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><br />
</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><i>..Nella prima parte degli anni novanta del Novecento, attraverso l’importante contributo di Peter Eisenman si era pubblicato un fascicolo di “Architectural Design” dal titolo </i><i>Folding in Architecture..</i></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><i>Il fascicolo era stato ispirato da un brano di Gilles Deleuze dal suo libro </i><i>La Piega. Leibniz e il Barocco. </i></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><i>La piega, come illustra Eisenman in diversi progetti, è una tecnica progettuale: attraverso l’atto del piegare, si conformano insieme le parti di un edificio e le articolazioni del paesaggio. Con questa impostazione Eisenman si afferma al concorso del grande <b>Complesso culturale di Santiago de Compostela</b> del 1999 in Spagna che viene realizzato nel corso del primo decennio del Duemila..</i></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><br />
</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: large;"><u>Cosa faccio??</u></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: large;"><u>“Ricerco” per capire il concetto di piega..</u></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><br />
</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">È stato Leibniz che per primo ha concepito la materia come esplosiva. Egli ha voltato le spalle al razionalismo cartesiano, arguendo che nel labirinto del continuo, la più piccola entità non è il punto, ma la piega. Nell’idea della piega la forma è considerata in diversi modi: sia come un continuum sia come articolazione di una nuova possibile relazione tra verticale e orizzontale, tra figura e sfondo, rompendo l’ordine esistente dello spazio cartesiano.</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><br />
</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">Da Leibniz si può arrivare alle idee proposte da altri intellettuali contemporanei tra cui Gilles Deleuze.</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">Per Deleuze l’idea della piega è stata per la prima volta definita in senso culturale nel Barocco. Egli pone una differenza tra il Gotico, che privilegia gli elementi della costruzione, il telaio ed il recinto; e il Barocco, che enfatizza la materia, dove la massa oltrepassa i propri confini perché non può essere contenuta dall’intelaiatura che arriva persino a scomparire.</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">L’architettura potrebbe interpretare la piega come condizione essenzialmente planare nell’articolare volumi tridimensionali. Queste pieghe non sarebbero semplicemente un’estrusione dal piano come nell’architettura tradizionale, ma qualcosa che contagia sia la pianta sia la sezione.</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">La piega deve essere usata non semplicemente come dispositivo formale, ma piuttosto come un modo di proiettare nuove organizzazioni sociali in un ambiente urbano esistente.</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><br />
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</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">Continuo a leggere:</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><br />
</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">.<i>.La parola chiave diventa “diagramma”: cioè l’esplicitazione di una serie di relazioni possibili e auspicabili del progetto. .</i></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><i>Il diagramma prefigura una serie di relazioni tra le parti che sono di natura topologica e/o parametrica ovvero che esiste un amplissimo campo di deformazioni geometriche compatibili con l’impostazione originaria. ..Si tratta della creazione di alcune relazioni che devono caratterizzare l’esito finale, queste relazioni costituiscono una sorta di codice DNA generatore e regolatore dello sviluppo del progetto. Gli esiti dipenderanno dagli eventi che intervengono nello sviluppo del progetto come fossero variabili per far evolvere il diagramma-codice verso una forma finale invece che un’altra..</i></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><br />
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</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: large;"><u>“Ricerco” per capire questa volta il concetto di “diagramma”</u></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><br />
</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">Secondo Deleuze la prima parte di ogni processo architettonico ha molto poco a che vedere con un processo di tipo machinico. Di solito, dopo aver definito il programma, il passo iniziale sta nella produzione di un primo diagramma; questo diagramma generalmente contiene una possibile descrizione di funzioni organizzate secondo un tipo e ulteriormente elaborate in base alle considerazioni rispetto al sito. Un secondo diagramma raffigura tutti gli aspetti del sito, definito da molteplici fattori: non semplicemente dalle sue condizioni fisiche reali, ma anche dalle sue storie passate e presenti. Il diagramma del sito interagisce con i diagrammi di funzione e tipo in un processo iterativo che produce una mescolanza dei tre livelli.</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">Questa organizzazione tripartita funzione generalmente allo stesso modo in cui si sviluppano la maggior parte dei procedimenti tradizionali nel senso che, analogamente ad essi, producono la forma di un contenitore bidimensionale planimetrico. Questo contenitore è di solito estruso in un volume tridimensionale. La seconda fase è probabilmente la più difficile, essa richiede la scelta di un agente esterno, un altro diagramma, quasi un Deus ex machina che descrive processi i quali, una volta sovrapposti al primo diagramma producono un <i>blurring</i>, una sfocatura. Un tale dispositivo potrebbe non essere immanente nel primo diagramma ma deve attivare un processo che abbia la capacità di modificare il primo diagramma. Onde <i>solition</i>, strutture del DNA, sono stati usati come reagente per tale secondo diagramma, confluendo in processi geometrici quali onde sinusoidali.</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;"><br />
</span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif; margin-bottom: 0.0001pt;"><span style="font-size: small;">Le opere basate sull’impostazione del <i>folding </i>possono essere considerati processi senza fine, senza esiti poiché la processualità non termina nell’esito finale ma proietta gli esiti anche nel futuro.</span></div><m:smallfrac m:val="off"> <m:dispdef> <m:lmargin m:val="0"> <m:rmargin m:val="0"> <m:defjc m:val="centerGroup"> <m:wrapindent m:val="1440"> <m:intlim m:val="subSup"> <m:narylim m:val="undOvr"> </m:narylim></m:intlim> </m:wrapindent></m:defjc></m:rmargin></m:lmargin></m:dispdef></m:smallfrac>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-65052938398593992922011-04-16T06:45:00.000-07:002011-04-16T06:45:23.754-07:00<div style="text-align: left;"><span style="font-family: Times,"Times New Roman",serif; font-size: x-large;"><span style="color: #cc0000;"><span><span style="background-color: #f3f3f3;"><span style="background-color: white;"></span></span></span><i><span style="font-family: Times,"Times New Roman",serif;"><span style="color: #f3f3f3;">Ex tempore..</span></span></i></span></span></div><div style="text-align: left;"><br />
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</div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-22502603393644927542011-04-10T04:00:00.000-07:002011-04-10T04:00:00.509-07:00<span style="font-size: x-large;"><i><span style="color: white;"> Analisi Ambientale Macro area A</span></i></span><br />
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<span style="font-size: x-large;"><i><span style="color: white;"> </span></i></span><span style="font-size: x-large;"><i><span style="color: white;"> Analisi</span></i></span><span style="font-size: x-large;"><i><span style="color: white;"> Ambientale Urban Void 47</span></i></span><br />
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Nell'ex tempore si è cercato di evidenziare le caratteristiche microclimatiche rilevanti.Ad una scala molto più grande ho sottolineato la presenza di macro aree verdi nelle vicinanze dello urban void 47.<br />
L'area è delimitata da Via Appia Nuova caratterizzata da un filare alberato ma che a sua volta determina un inquinamento acustico.<br />
Sono stati rappresentati i venti freddi provenienti da nord-est e i venti caldi provenienti da sud-ovest, nonchè il percorso del sole sia nel periodo invernale che estivo.<br />
Lo zoom sullo urban void 47 mette in evidenza come la presenza di edifici alle spalle del lotto di intervento lo schermano dai venti invernali mentre risulta libera ad accogliere i venti favorevoli da sud ovest<br />
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<span style="font-size: x-large;"><i><span style="color: white;"> Profili indicativi</span></i></span><br />
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<span style="font-size: x-large;"><i><span style="color: white;"> Problematiche e risorse</span></i></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKBtJjIjLb-VZ5Gd1pBWTMikxwxbFHKVa-IVYXbpG8KACR00fCEHyyBAplTSLNpZTKGIBXWaPcFZLjJnZxS-vdQlJf9aHFtbdyjp0Zelgb5gOPsPdZfTsXNVW0cj9lP1acSnJfRNjy1LE/s1600/ok.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKBtJjIjLb-VZ5Gd1pBWTMikxwxbFHKVa-IVYXbpG8KACR00fCEHyyBAplTSLNpZTKGIBXWaPcFZLjJnZxS-vdQlJf9aHFtbdyjp0Zelgb5gOPsPdZfTsXNVW0cj9lP1acSnJfRNjy1LE/s320/ok.jpg" width="320" /></a></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-3323011128406508392011-04-09T00:55:00.000-07:002011-04-09T00:55:30.580-07:00Urban Void 47..<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkEFrXwO8QgR2IDXJ_QA1Z5o547LGHlpjFQOafsKxy0wS9Up3MP34Clk6mS8uzee2p4vRshsqoxMNAxgILMFU7LUjpchPHbLf3gcMONlL0L4nctNXMCoKcGf_coV71rws1_bYNwL8FgnE/s1600/Immagine+003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkEFrXwO8QgR2IDXJ_QA1Z5o547LGHlpjFQOafsKxy0wS9Up3MP34Clk6mS8uzee2p4vRshsqoxMNAxgILMFU7LUjpchPHbLf3gcMONlL0L4nctNXMCoKcGf_coV71rws1_bYNwL8FgnE/s320/Immagine+003.jpg" width="320" /></a></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-76672706968117833502011-04-09T00:47:00.000-07:002011-04-09T00:47:52.215-07:00<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeGz2UnxYHTdHewbJJzyw8tLU07N5M1hyphenhyphenoiSMzwPdMeUSukNehdyk36o9rAfloZEZDjhDojCTG0hufpv4jbwCrpz6q6Ppsbvt6WhhAqyyP45otOkuzR-2hJYJt05RqnTAMQN_S9XMrIvk/s1600/Immagine+006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeGz2UnxYHTdHewbJJzyw8tLU07N5M1hyphenhyphenoiSMzwPdMeUSukNehdyk36o9rAfloZEZDjhDojCTG0hufpv4jbwCrpz6q6Ppsbvt6WhhAqyyP45otOkuzR-2hJYJt05RqnTAMQN_S9XMrIvk/s320/Immagine+006.jpg" width="320" /></a></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-49488194389596520812011-04-09T00:46:00.000-07:002011-04-09T00:46:44.131-07:00<div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2VFDTohWPP17oatMBDIevn16qElUT4Ox0sqgdmE3eiIfmQvUEYSRPNDBgwpEn3MF1hoNsrfk_XQyz1if7Si5doBJOiuu65syAS6fpSNFibsIaT-249n0MAGXJpZ1moWQwpeqZ-mkU3nQ/s320/Immagine+010.jpg" width="320" /></a></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0tag:blogger.com,1999:blog-8339654673813256008.post-5641307371816528762011-04-09T00:43:00.000-07:002011-04-09T00:43:23.756-07:00<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC9rt-RbV2-k1jf7hvaieXgs5Sbe3sOayTMtnBBonpUb-oXOeR0RTDkrP8RSLdtzydOIQ0Hx-qDvVjxSywXvmSkhTwJK9LIYbcZzDayPBJVh5jOeZ1iHAaQkWYAJVq3QmXTGekbc9GQvM/s1600/Immagine+011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC9rt-RbV2-k1jf7hvaieXgs5Sbe3sOayTMtnBBonpUb-oXOeR0RTDkrP8RSLdtzydOIQ0Hx-qDvVjxSywXvmSkhTwJK9LIYbcZzDayPBJVh5jOeZ1iHAaQkWYAJVq3QmXTGekbc9GQvM/s320/Immagine+011.jpg" width="240" /></a></div>Debora d'Angelishttp://www.blogger.com/profile/05971693885565721328noreply@blogger.com0