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photo grosse bite escort boulogne

Numerosi progetti urbani, dalla piccola alia grande scala, testimoniano dell'ampiezza dell'opera: I problemi non sono gli stessi nella vicina e lontana periferia: A modern interpretation of the great 19th-century iron and glass greenhouses.

The greenhouse in Park Andre-Citroen in Paris designed by the architect Patrick Berger and the RFR engineering office, erected from to deindustrializzazione Boulogne- Billancourt e le sue officine Renault, Pantin e i suoi Grands Moulins , il fenomeno maggiore di questi ultimi decenni; per gli altri si tratta di ridonare a degli spazi poco o male qualificati una nuova 'urbanita', di riabilitare il grande insieme senza cedere alia 'residenzializzazione', marchio fisico dei limiti della proprieta che non puo rimediare a tutti i problemi.

Una tale somma di progetti convincera chiunque della necessaria apertura di Parigi sulla sua regione, non perche la periferia assomigli ormai a Parigi, ma piu semplicemente perche il dialogo troppo a lungo interrotto ricominci. Or maybe its just the product of Paris's new political administration?

Regardless, this is the first time in a long while that the capital's history and future have been considered in tandem. Some things are taken for granted in other towns, but in Paris they still subject to debate.

How can districts lying on opposite sides of the Peripherique be connected when some are administratively in Paris and others belong to outlying suburbs?

How can the Tle-de-France region overcome its history of impeding the creation of Greater Paris an expression that is currently out of fashion because of its overly colonialist connotation? Although Paris today seems more like a 'metropolitan archipelago' than a stable, coherent body, one must focus the discussion on the relationship of the centre to the outskirts. As J-P Pranlas-Descours observes of this 'unstable archipelago', 'new island passages allow one to build an assembly of places with no relationship in scale, size or quality.

From the street to the RER, the shopping centre to the museum and the Isle de la Cite to Les Halles, a succession of totally independent atolls are linked like the beads of a rosary, joined only by the street network'. If it is addressed, public transportation is one of the trickiest issues. In it was the principal criterion for defining the boundaries of the Paris region, and it remained so between and , when the Peripherique was constructed to reduce traffic congestion in Paris.

This ring road is the last bastion of a city that had destroyed its fortifications. Two of the city's master plans - Leon Jaussely's, which won the competition, and Henri Prost's of - were centred on the regional transport network that linked Paris to the major national highways and motorways.

It is worth noting that the region of Paris has only recently acquired an adequate railway network. The delay was caused by Paris's eternal sovereignty and independence, which ensured that there was never a proper connection to the mainline railway stations.

In fact, the RER regional express network was envisaged as far back as , but it was not constructed until The necessity of crossing Paris helped to strengthen its centrality; what has happened to transportation between outlying municipalities? Generally speaking, the region has suffered from a lack of a dialogue between Paris and its suburbs, a problem that occurred in ,1 and again in 1 , with the publication of the region of Paris's guidelines for planning and urbanization.

This perverse separation is primarily the product of the very high density of Paris, but it is also produced by the inability of governments to work together. As is by now its custom, the Pavilion de I'Arsenal draws on the past to reflect upon contemporary problems. Conceived as a double volume, this work was constructed by dozens of authors, who explore the lines of tension in the lle-de-France: The most symbolic example is the Bievre; this mythic river, which flows into the Seine near the Jardin des Plantes, originally had concrete banks and later was covered.

Along its kilometre length, it has had a large impact on the towns it intersects. For several years the Bievre has been subjected to diverse schemes. Some have aimed to re-create it in Paris, while other, less regressive projects hope to make it the prototype of a shared landscape.

The second part of the volume examines three approaches to major issues raised by the archipelago: Numerous large- and small-scale urban schemes - original projects, conversions, the creation of new business or university parks, the rehabilitation of various industries - testify to the breadth of the publication.

Every city council is involved in town planning or has been called upon to join an interurban structure. The problems differ depending on the proximity to Paris. In recent decades, distant sites have had to seek the best deal from the conversion of disused factories Boulogne-Billancourt's Renault plant, Pantin's Grand Moulins.

More central areas must provide under equipped spaces with more urban character, rehabilitating them without succumbing to the pitfall of mono functional housing. The physical limitation of property cannot solve all of the problems. This set of schemes will convince anyone that Paris must join its region - not so that the outskirts resemble Paris, but so that the long-interrupted dialogue can continue.

Si tratta ovviamente di relazioni culturali, di contatti tra Perret e alcuni architetti, ingegneri o intellettuali italiani, a volte di legami ambiguamente politici; ma soprattutto si tratta del ruolo avuto da Perret aN'interno della cultura architettonica - e storiografica - italiana. Ruolo che non e certo assente prima della II Guerra Mondiale, e che trova una ulteriore fortuna, ad un livello piu ampio e secondo mutate connotazioni, dopo di essa.

Non a caso a meta degli anni Cinquanta Ernesto Nathan Rogers pubblica per le edizioni de II Balcone una piccola monografia, Auguste Perret Milano , di cui viene proposta una riedizione anastatica che accompagna il libra curato da Michela Rosso e Sergio Pace, che del volume rogersiano riprende il piccolo formato.

Pace, nel saggio Scomodi pionieri. Fortune e sfortune critiche dei fratelli Perret in Italia 1 , evidenzia come la cultura architettonica italiana tra le due guerre utilizzi contraddittoriamente la figura di Perret; piu come arma polemica che per I'effettiva conoscenza delle sue opere. II giudizio unanimemente positivo sui magistrale uso del cemento armato, espresso durante gli anni Venti e condiviso da piu fronti, anche se non immune da qualche accusa di formalismo, anticipa una successiva valutazione ancora piu generosa da parte di Marcello Piacentini e Margherita Sarfatti che conosceva personalmente Perret.

II clima favorevole a Perret determina anche I'inclusione di una voce a lui dedicata, e redatta da Pierre Lavedan, nell'Enciclopedia Italiana vol. Tale rilievo, ma soprattutto il sostegno di Piacentini e Sarfatti, provocheranno alia fine degli anni Trenta la reazione dell'avanguardia architettonica italiana, che taccera Perret d'enfasi retorica, proprio in un momento in cui I'architetto francese appare decisamente poco accondiscendente verso le predilezioni architettoniche, ormai tradizionaliste, del Regime.

D'altro canto e lo stesso Perret - come evidenzia acutamente Pace basandosi su una documentazione fino ad ora poco nota - ad alimentare tali ambiguita, quando nel , su incarico del Commissariat General a I'lnformation della Presidenza del Consiglio francese, accettera di scrivere un elogiativo volume sui nuovo volto dell'ltalia fascista, dall'eloquente titolo di Mussolini batisseur, che tuttavia non verra mai pubblicato.

Perret e la cultura architettonica italiana del II dopoguerra, la situazione si pone in ideale continuity con quella precedente, rafforzata dal giudizio della storiografia canonica dell'architettura moderna, che vede in Perret un pioneer, soprattutto per I'uso del cemento armato, ripiegatosi successivamente in una sorta di involuzione classicista. E principalmente Bruno Zevi, con la sua Storia dell'architettura moderna Torino, a propagandare la linea dei testi di Nikolaus Pevsner e Sigfried Giedion.

I risultati porteranno alia realizzazione di una serie di architetture in qualche modo confrontabili - idealmente ma anche formalmente - con quelle di Perret. Due personality paragonabili ben oltre le assonanze formali, come dimostrano le autrici, evitando pero quelle semplicistiche osservazioni che non rendono giustizie dei modi diversi di usare il cemento armato. Da Perret e infatti impiegato secondo una coerenza quasi ossessiva; Michelucci si dirige invece alia volta di approdi nuovi e sconosciuti, verso una moltiplicazione di esperimenti e di combinazioni tecniche e materiche.

Un confronto di genere diverso e invece proposto da Giuliano Gresleri, che in Lo "stile del conglomerato cementizio armato". Attilio Muggia e la "scuola di Bologna" ricostruisce I'ambiente bolognese in cui si trovo ad operare Attilio Muggia, ingegnere e poi docente alia Scuola di Ingegneria di Bologna.

L'organismo architettonico, secondo Muggia, si sarebbe dovuto adeguare a delle leggi tipologiche da intendersi pero come parametri di riferimento e non secondo regole fisse.

Gli obbiettivi pratici sarebbero cosi stati forieri di un nuovo linguaggio. Muggia tuttavia raggiunse una certa liberta espressiva solo in alcune delle sue opere, principalmente in quelle strettamente tecniche, come i ponti o certe strutture industriali; Pier Luigi Nervi, che concluse i suoi studi proprio con Muggia nel , si sarebbe spinto ben oltre. II volume - nella sequenza dei saggi che lo compongono, accompagnati da un esaustivo apparato di note, da un ricco corredo iconografico, e concluso da un utilissimo ed accurato regesto bibliografico curato da Giulietta Fassino - rende decisamente vacillanti le canoniche interpretazioni della figura di Perret, e non solo.

Quello che appare evidente dopo la sua lettura e I'impossibilita, come sostengono gli stessi curatori, "di scrivere una storia univoca dell'architettura contemporanea". Pioneering structure for Turin's central markets building designed between A difficult master This slender volume on the relationship between Auguste Perret and Italy was published by Turin's Municipal Modern and Contemporary Art Gallery on the occasion of its presentation of the travelling exhibition Perret: Of course, the relationships in question were cultural connections between Perret and Italian architects, engineers and intellectuals; at times, the ties were ambiguously political.

Above all, they involved the influence of Italian architectural and historical culture. Certainly, Perret had a part to play before World War II, and later he had a broader effect under different conditions. A facsimile is attached to the book edited by Michela Rosso and Sergio Pace, which echoes the earlier publication's small format.

In his essay 'Uncomfortable Pioneers: Critical Fortunes and Misfortunes of the Perret Brothers in Italy ', Pace stresses how interwar Italian architectural culture utilized the figure of Perret in a contradictory way - that is, they exploited him as a polemical weapon rather than acquiring a real understanding of his work.

During the s his masterly use of reinforced concrete was unanimously admired, though there were a few criticisms of his formalism.

This was a forerunner of the even more generous appraisal by Marcello Piacentini and Margherita Sarfatti the latter had met Perret. The positive climate enveloping Perret even caused his name to be entered in the Italian Encyclopaedia, written by Pierre Lavenan Vol. This and the support of Piacentini and Sarfatti were to engender the reaction of Italian rationalism in the late s. The French architect was attacked for rhetorical emphasis, at a time when he was clearly not supporting the traditionalist stance of the fascist regime.

On the other hand, Perret himself, as Pace acutely remarks, based on some heretofore little- known documents, fed that ambiguity. In he was commissioned by the French information ministry to write a positive book on fascist Italy the volume was never published. In 'In Search of the Prehistory of Modernism: Perret and Post-War Italian Architectural Culture', Rosso emphasizes that the earlier situation was strengthened by the canonical historiography of modern architecture, which viewed Perret as a pioneer, particularly for his use of reinforced concrete, though he later became more classical and introspective.

However, this reading was initially and notably changed by Rogers' volume, which confirmed the pioneer rhetoric but also sought in Perret a design method and an architectural idea that could be shared - aside from any formalism - by the notion of continuity.

Subsequently, other architects Vittorio Gregotti, Aldo Rossi, Gianugo Polesello and Francesco Tentori followed the road paved by Rogers, creating buildings that were comparable theoretically and formally with Perret's. The Deceptions of Perception', dwells on one of these comparisons. The authors demonstrate that the two architects' personalities were comparable far beyond the formal harmonies, but they avoid simplistic observations that do not pay justice to the differing ways of employing reinforced concrete.

Perret used it in a nearly obsessive way, while Michelucci headed for more innovative, and uncharted waters, the multiplication of experiments and technical and material combinations. Giuliano Gresleri offers a different sort of comparison; his 'The "Style of the Reinforced Concrete": Attilio Muggia and the "School of Bologna'" re-creates the Bolognese milieu in which Muggia, an engineer and professor at the Bologna School of Engineering, practiced.

In Muggia's opinion, architecture had to comply with the typological laws, conceived as parameters for reference rather than strict rules; the practical goals were thus forerunners of a fresh language. But Muggia attained a certain expressive freedom only in some of his works, mainly the purely technical ones, such as bridges and factories. Pier Luigi Nervi, who studied under Muggia in , would go much farther. This publication boasts a sequence of essays, exhaustive notes, abundant illustrations and a fine bibliography by Giulietta Fassino.

It represents a decisive critique of the canonical interpretations of Perret and the volume proves the impossibility, maintained by the editors, of 'writing a univocal history of contemporary architecture'. In una veste editoriale tradizionale, semplice ed elegante, questo lavoro di Claudio Gamba ha il merito di aver raccolto e ordinato in quattro grandi aree gli scritti di Argan sul disegno industriale appartenenti a periodi diversi della sua vita.

Nel seguire la cronologia delle pubblicazioni ci accorgiamo che il pensiero critico di Argan si stempera quasi costantemente durante tutta la sua produzione critico-letteraria ad eccezione del decennio degli anni Settanta, dove lo studio della realta oggettuale non sembra interessare I'autore in maniera diretta.

La raccolta di queste opere trova una sua utilita per almeno due motivi fondamentali: Una sorta di antologia critica strutturata per argomenti pensati e sostenuti da uno dei maggiori protagonisti della critica artistica italiana del Dopoguerra. Alia fine degli anni Cinquanta, con I'esplodere di una societa dei consumi dove il moltiplicarsi di oggetti utili e inutili avvia la creazione di un vera e proprio paesaggio artificiale lo studio del linguaggio degli oggetti si carica di significati semiologici, sociologici, psicologici e figurativi nella ricerca di un possibile fine sociale del design.

I nuovi materiali e i fattori innovativi applicati ai processi di produzione industriale fanno intravedere nuovi possibili scenari dei prodotti industriali. Proprio in questi anni viene pubblicata in Francia I'opera significativa di Gilbert Simondon Du mode d'existence des objets techniques che enuncia i principi teorico-critici sulla cultura degli oggetti, opera seguita, dieci anni dopo, dal testo di Jean Baudrillard Le systeme des objets, tradotto pochi anni dopo in italiano.

Sono questi gli anni dove si concentrano maggiormente gli scritti di Argan intorno all'artigianato e I'industria, I'arte e I'industria, il design deN'automobile, la moda, I'oggetto moderno e quello del futuro II saggio introduttivo di Claudio Gamba traccia i contenuti del pensiero critico di Argan in un andamento di tipo cronistorico che abbraccia aree tematiche diverse e permette di ricostruire il suo pensiero "sul doppiofilo intrecciato La poltrona Embryo del di Marc Newson.

Dal volume di Conway Lloyd Morgan: Edizione Skira-Rizzoli, Milano, Marc Newson's Embryo armchair. Published in Conway Lloyd Morgan's book on Newson. Acsta M IfMxasn, 2 0rapa;9. II contrasto tra arte e industria e tra artigianato e industria va via via sfumando nella prospettiva di una possibile reciproca collaborazione sullo sfondo della funzione sociale dell'arte che trova, a partire dagli anni Cinquanta, nella persona di Adriano Olivetti un promotore senza uguali.

Nello stesso arco di tempo lo studio critico di Argan e diffuso tramite la neonata rivista Civilta delle Macchine, con la quale collabora fin dal primo numero insieme a filosofi, tecnici, artisti, progettisti e scrittori nella volonta di far incontrare culture diverse intorno ai binomi arte e tecnica e arte e industria. In questa ottica il ruolo del progetto acquista forza e si arricchisce di nuovi attributi tecnici nella speranza di allontanare i fini del mondo industriale dal capitalismo incondizionato.

II design e visto quindi da Argan come una "metodologia progettuale applicabile all'oggetto come alia citta", e come fattore di integrazione sociale: Nel mondo artificiale degli oggetti pensati dall'uomo, la funzione estetica dovrebbe essere sempre piii esaltata rispetto alia sola funzione economica che invece vede concentrare gli sforzi del capitalismo industriale. La scoperta dei nuovi materiali e la proposta di nuovi processi produttivi devono portare a nuove forme espressive dove il progetto e visto come " unita assoluta di forma e di materia": Attuali sono anche le conclusioni cui giunse negli ultimi anni della sua vita sulla improbabile alleanza tra arte e industria, senza pentirsi, tuttavia, di avere sostenuto questa tesi.

Nella conferenza tenuta a Berlino nel , egli auspica un giusto equilibrio tra i bisogni e la produzione, ossia un design non in funzione del benessere ma dei bisogni; il fine e quello di limitare I'impoverimento delle risorse naturali che apre la strada alia attuale ecocompatibilita del prodotto industriale.

Egli vede il mondo oggettuale futuro come effimero, leggero, policromo, interscambiabile: Spera in una logica dei consumi e dei bisogni e vede, nel bombardamento delle immagini cui siamo esposti quotidianamente, la paralisi della nostra immaginazione che porta alia passiva e apatica accettazione di un ambiente artificiale effimero e troppo poco caratterizzante la nostra esistenza.

Argan ne sottolinea I'interesse per la cultura tecnologica e insieme per quella umanistica, unite da un raccordo funzionale in una possibile collaborazione. Piercarlo Crachi, professore a contratto di Disegno Industriale presso la prima Facolta di architettura di Roma "La Sapienza" Argan and design Explorations of the effects of epistemological thought on the real world cannot disregard Giulio Carlo Argan's writings on design, which spanned more than 30 years, commencing in This simple, elegant and traditional publication by Claudio Gamba is commendable for having collected and arranged Argan's essays on industrial design, dating from diverse periods of his career, into four sections.

By observing the pieces' chronology, we realize that Argan's criticism extended his entire critical and literary career, except for the s.

During that decade, it seems the real world did not directly interest the author. There are at least two primary reasons for the utility of this collection; most importantly, a single source now brings together writings that originally appeared in journals, conference proceedings and exhibition catalogues only partially cited by others. We can also now understand the lesser-known aspect of Argan's thought on industrial design, particularly as a young man.

This volume is a sort of critical anthology organized by the issues conceived and supported by one of the most important Italian post-war art critics. In the late s consumerism burst onto the scene, and the multiplication of both useful and useless objects produced a truly artificial landscape.

The study of the language of artefacts took on semiological, sociological, psychological and figurative meanings in the quest for a possible social purpose for design. Novel materials and innovative manufacturing techniques offered a glimpse of fresh potential outlets for industrial products.

During the same period, Gilbert Simondon's On the Existence of Technical Objects 1 , a work addressing the theoretical and critical principles of the culture of objects, was published in France.

This was the time when most of Argan's pieces on artisans and industry, art and industry, car design, fashion and modern and future objects were written. Gamba's preface, like a chronicle embracing diverse subjects, outlines the contents of Argan's critique, allowing us to reconstruct his thought 'according to the double interwoven thread of relationships between art- craftwork-industry and design- architecture-planning'.

The contrasts between art and industry and craftwork and industry were gradually vanishing in view of a possible reciprocal collaboration founded on the social function of art. Beginning in the 1 s, Adriano Olivetti was a matchless promoter of this method. Argan's criticism was disseminated by the new review Civilta delle Macchine; he was a regular contributor from the very first issue, together with philosophers, technicians, artists, designers, architects and writers who strove to make various cultures meet around the poles of art and technique and art and industry.

From this standpoint, the role of design was strengthened and enhanced with novel technical attributes, in the hopes of bringing about the end of the unbridled capitalism of manufacturing. Argan treated design as a 'methodology applicable to both objects and towns'.

It was also a factor for social integration: In the artificial world of artefacts, the formal function should be increasingly exalted over economic aspects. Industrial capitalism focuses on the latter, however. The discovery of new materials and manufacturing processes must lead to fresh expressive forms in which design represents 'the absolute unity of form and material'.

In these convictions, Argan's thinking is strikingly contemporary. In his final years, he came to conclusions regarding the unlikely alliance of art and industry that were equally modern, but he did not in the least regret having backed this thesis.

In his Berlin lecture, he argued for the proper balance of need and production - that is, design that is a function of need, not well- being. The purpose was to limit the exhaustion of natural resources, paving the way for today's environmentally friendly products. He envisioned the future world of objects as ephemeral, lightweight, polychromatic, interchangeable and mutable. He desired a logic of consumption and necessity and believed the daily bombardment of our imagination would lead to a passive, apathetic acceptance of an ephemeral world with little impact on our existence.

The volume ends with an unedited interview with Adriano Olivetti, the leader of modern industry, the enlightened patron of the arts and advanced capitalism. In it, Argan underscores his interest in both technological and humanistic culture, joined by the functional relationship of potential collaboration.

Questa raccolta di testi, che copre un arco di tempo compreso tra il e il , off re la rara opportunity di vedere il cambiamento di punto di vista della critica d'arte rispetto a un'opera di confine qual e quella di un artista come Cy Twombly. Per molti aspetti egli puo essere considerato uno degli ultimi grandi interpreti di un mezzo artistico che e stato di enorme importanza come la pittura.

Non solo perche egli si rifa esplicitamente alia tradizione mediterranea, che I'artista ha adottato allontanandosi dal territorio statunitense nel quale e nato e si e formato, ma anche perche la sua pittura riunisce insieme diversi caratteri eterogenei tra loro, come I'arte astratta e I'evocazione della grande tradizione figurativa barocca, il connubio tra I'immagine e la parola che richiama testi latini, la riscoperta della raffigurazione infantile che recupera una grande linea novecentesca legata al primitivismo.

Inoltre, la capacita di evocare un'ideadi mito nella rappresentazione pittorica, sulla quale molti interpreti degli anni Ottanta del secolo scorso hanno insistito entro un contesto culturale particolarmente recettivo sulla questione.

I quarantatre testi raccolti in questa antologia rappresentano percio un excursus attraverso una vicenda pittorica che dovrebbe indurci a porre la questione del carattere cruciale di questo artista rispetto alia pittura come problema molto dibattuto negli ultimi decenni. E veramente sorprendente, infatti, che questo artista abbia costituito una presenza abbastanza costante del dibattito artistico dei decenni scorsi, anziche essere relegato come epigono dell'Action Painting americana degli anni Quaranta e Cinquanta.

La fine della pittura, o meglio la sua secolarizzazione, in quanto essa non e piii il mezzo sacro attraverso cui si produce il dibattito artistico, ma semplicemente uno dei mezzi possibili - secolarizzati - insieme alia performance, alle installazioni e ai mezzi tecnologici quali la fotografia, Cycnus, scultura di Cy Twombly del Scenes from an Ideal Marriage, by Cy Twombly, il film, il video, coincide con la necessita di avere alcune pietre di paragone che rappresentino un'idea di tale mezzo nel momento della perdita del suo primato.

E forse questa la grande attrattiva esercitata dall'opera di Cy Twombly. II suo carattere preciso e proprio quello di porsi sul limitare tra la pittura intesa come entita sacrale - quale forse si poteva ancor intendere nella prima meta del secolo scorso - e la sua secolarizzazione. Questo aspetto di confine dell'opera di Twombly e quello che si ritrova nella lettura dei testi critici, distribuiti nel corso di cinquanta anni.

Percio, nel testo di Cesare Vivaldi del , affiora la dimensione secolarizzata, per quel tempo, nella quale I'artista ha "acquisito la sua forma peculiare di neo-dadaismo. I suoi segni che una volta erano confinati al solo 'gesto', autonomo e autosufficiente, gradualmente iniziano a combinarsi fra di loro per divenire interdipendenti, assumere una funzione narrativa che non e lontana da quella rappresentata dalla contaminatio di segni, immagini, materie, oggetti in Rauschenberg" p.

Mentre Marcelin Pleynet cita lo stesso Twombly che dice della propria opera: Di qui deriva I'interpretazione della sua pittura come evento, che costituisce il punto di contatto tra la dimensione secolare della sua opera, in quanto I'evento e qualcosa che appartiene alia sfera vitale, e il suo carattere epifanico che la apparenta alia sfera del sacro.

In qualche modo, sulla stessa idea di evento si muove anche il testo di Manfred de la Motte, che lo collega al rapporto con la scrittura: Tuttavia non c'e niente da leggere che abbia significato; e solo I'auto- presentazione del leggere e I'appello afarlo" p.

In questo stesso periodo, altri autori recuperano in modo pi lj esplicito la dimensione mitica della pittura di Twombly, come Richard Hoppe-Sailer e Gottfried Boehm. In tutti questi diversi significati, percio, la pittura - ma anche la scultura - di Cy Twombly si pone in una stazione di confine tra la secolarizzazione, che la colloca a fianco deN'arte degli ultimi decenni e che si ritrova in questo carattere di disfacimento deH'immagine pittorica, e il suo carattere di evento che sembra recuperare un momento sacrale, contemplativo, anche se di continua trasformazione nella rappresentazione, come sostiene Richard Hoppe-Sailer: I termini dei molteplici aspetti dell'opera di Twombly affiorano anche nel dibattito tra gli artisti seguito alia mostra del MoMA del Richard Serra, in quell'occasione, sosteneva: In effetti, sembrava antitetico a questo.

Non lo leggi come leggi gli altri tipi di pittura che trasmettono l'immagine, non c'e immagine nella pittura di Twombly " p. Mentre Francesco Clemente, di contro, affermava: L'opera di Cy Twombly rappresenta, dunque, la grande macchina pittorica che mette in scena se stessa e che ci indica il confine oltre il quale la pittura che viene dopo e quella che accade nell'epoca della riproducibilita meccanica delle immagini.

Maurizio Bortolotti, critico d'arte The secularization of painting Spanning a year period, from to , this collection of essays offers the rare opportunity to witness changes in critical perspective in the production of a transitional artist. In many ways, Cy Twombly can be considered one of the last great painters. This is partly because he explicitly refers to the Mediterranean tradition, for he adopted it when he left the United States, where he was born and trained. His painting unites diverse tendencies, such as abstract art and the great representational baroque tradition, the marriage of image and text echoing Latin books and the rediscovery of children's paintings following a significant 20th-century trend related to primitivism.

Twombly ultimately evokes the myth of pictorial representation, which many s artists insisted upon, in a particularly favourable cultural context. The 43 pieces in this anthology provide an overview of the artist's essential nature, a much- debated problem in past decades.

In fact, it is truly surprising that this painter has continued to occupy the centre of recent artistic debate in, instead of being forgotten as a relic of American action painting in the s and s. Painting had ended; or rather, to be more accurate, it was secularised - it no longer is the sacred medium for engendering artistic debate; it is just one of the many possible media, including performance, installation and technical media such as photography and video.

Perhaps this is why Twombly's production is so appealing: Hence, in Cesare Vivaldi's essay on the then secularized side of his surfaces, the artist 'achieved his peculiar form of neo-dadaism. His signs that once were confined to the only self-sufficient, autonomous "gesture" gradually began to combine together, to become interdependent, to take on a narrative function that is not far..

Album - Enciclopaedia, with Juli Capella, Edizioni Electa, Barcelona represented by this contaminatio of signs, images, matters, objects in Rauschenberg'. Marcelin Pleynet quotes Twombly, who had this to say about his own work: The line doesn't illustrate; rather, it is the perception of its own realization'. This leads to the reading of his painting as an event, constituting the point of contact with the secular side of his creations.

In fact, events belong to the vital sphere and their epiphanic character falls into the sacred sphere. In a way, the same happening concept lies behind the essay by Manfred de la Motte, linking it to script: But there is nothing meaningful to read there; it is the self-presentation of the reading and the call to do so'. In the s and s the sacred and the evocation of myth made a comeback. Harald Szeemann asserts, 'No contemporary artist has so succeeded in dematerializing, transubstantiating, spiritualizing the content and expressiveness of line, colour and volume', adding, 'The painter standing in front of a large canvas felt like a pioneer in the desert; the energy of his inner vision was directly converted into the dynamics of pictorial genesis'.

During the same period, other authors, such as Richard Hoppe- Sailer and Gottfried Boehm, returned more explicitly to the mythical dimension of Twombly's paintings. All of the diverse meanings of Twombly's painting and sculpture thus lie on the boundary between secularization such as art of the recent decades that features the decomposition of the pictorial image and its event-like nature. The latter seems to return to a sacred, contemplative moment, though it is constantly transformed into representation.

Richard Hoppe- Sailer maintains, 'The picture and its meaning arise in the process of being seen'. The multifaceted aspect of Twombly's work also appears in the artistic debate that followed a Museum of Modern Art exhibition. In fact, it seemed to be antithetical to that You don't read it like you read other kinds of paintings that communicate image. There is no image in the painting'. On the other hand, Francesco Clemente stated, 'maybe the sculptures are the subject matter of the work, the work being an evocation of the mythological forces'.

Twombly's production represents the great pictorial machine that stages itself, marking the limit of time, and subsequent paintings fall into the period in which images can be endlessly reproduced.

Realizzato da Kleihues tra il e il , domina con una presenza scultorea il contesto urbano. Kleihues's Kantdreieck office tower, right, is one of the landmarks of the so called 'critical rebuilding of Berlin'. Designed between 1 and 1 , its sculptural presence dominates its urban context.

Ma il capolavoro indiscusso di Josef Paul Kleihues si distingue da tutti gli altri progetti: E logico che un bel disegno di una parte del prospetto introduca alia mostra "Stadt Bau Kunst" I'arte della costruzione della citta allestita aN'Hamburger Bahnhof per celebrare,sotto gli auspici dei Musei Statali di Berlino, i settant'anni dell'architetto. In proporzioni rigorosamente eguali, il modulo della facciata della BSR si ripete in pianta a piano terra, assumendo la forma di una fibbia allungata.

Piloni alti e stretti strutturano gli ampi accessi vetrati e, nonostante la forma astratta dell'edificio, si riallacciano a esempi storici dell 'arch itettura berlinese; come dimostra un disegno di Alfred Messel per rampliamento dei grandi magazzini Wertheim. Kleihues ha usato il motivo della fibbia una seconda volta a Berlino, nell'ospedale di Neukolln Questo tema formale, pero, ha ricevuto il riconoscimento definitivo nella "Band des Bundes" un 'nastro' di edifici del governo federale di Axel Schultes a capo dello studio di Kleihues al tempo in cui fu costruita la BSR.

E cosi si ritorna al punto di partenza: E non poteva essere piii felice la scelta della sede della mostra: E, nel versatile complesso delle sue opere costruite, questo non e I'unico museo: Dopo aver studiato con Bernhard Hermkes e Hans Scharoun aN'Universita Tecnica di Berlino, Kleihues si allontano rapidamente dall'architettura organica dei suoi maestri per indirizzarsi verso il "razionalismo poetico". Era un recuperare la nozione di isolato, come Kleihues fece nel a Berlino, nel quartiere Wedding.

Questo "ritorno all'isolato", che ha comportato I'abbandono delle visioni urbanistiche del movimento moderno del dopoguerra, si basava sul concetto di ricostituzione urbana: Anche Kleihues contribui in modo cospicuo alia realizzazione della "nuova Berlino", delineando con gli edifici Sommer e Liebermann per la Porta di Brandeburgo uno scenario in sintonia all'idea originale di Friedrich August Stuler. Data I'importanza del momento, Kahlfeldt ha spaziato su tutta I'attivita di Kleihues: Quest'ultimo aspetto e illustrate con il bellissimo modello in ottone Una Casa Una Citta , un progetto per Riallacciandosi al progetto per Documenta 8 , tre sale espositive geometriche - quadrate, ottagono e cerchio - formano la spina centrale della mostra, integrata dalla "ship-shape" forma a nave , la forma preferita da Kleihues e da lui usata per I'arredo urbano di Unter den Linden.

Kleihues non ha fondato nessuna scuola in senso stretto. Ma chiunque oggi a Berlino si occupi di architettura ha trascorso un certo periodo nel suo studio: Questa influenza sulle generazioni successive e una delle sue caratteristiche piu importanti: Jurgen Tietz, critico d 'architettura, lavora a Berlino Homage to Kleihues Josef Paul Kleihues is regarded as the father of the 'critical reconstruction' of Berlin, which was given a decisive boost in the s with the new IBA architectural expo, a project he supervised.

But his undisputed architectural masterpiece - the central facility of the Berliner Stadtreinigung BSR in the Tempelhof district - stands alone. It is entirely logical that a fine drawing of part of the BSR's facade should become the eye-catching opener to this exhibition, titled Stadt Bau Kunst City Building Art and held at the Hamburger Bahnhof under the auspices of the Berlin State Museums in honour of the architect's 70th birthday.

In strictly equal proportions, the facade module of the BSR develops on a ground plan shaped like an elongated buckle. Tall, narrow pylons define the broad glazed approaches; in spite of the abstract shape of the building, these elements reference precedents from Berlin's architectural history, as is demonstrated by a drawing of Alfred Messel's extension for the Wertheim department store.

Kleihues took up the buckle motif for in Berlin for a second time in his design for Neukolln Hospital 86 , but the project received accolades only after construction of the Band des Bundes, a 'ribbon' of federal government buildings by Axel Schultes who was head of Kleihues's studio at the time the BSR was built. And so we come full circle: The choice of exhibition venue could not have been more felicitous; after all, it was Kleihues himself who converted the long-disused Hamburger Bahnhof railway station into a museum between and This is not the only museum in his versatile oeuvre: After studying under Bernhard Hermkes and Hans Scharoun at Berlin's Technical University, Kleihues quickly moved away from his mentors' organic architecture toward what was known as 'poetic rationalism'.

As with Aldo Rossi, the decisive factor for Kleihues was the rediscovery of the 'architecture of the city', a notion that included a return to the idea of the city block, as implemented by Kleihues in in the Wedding district of Berlin. This implied a final abandonment of the city-planning visions of post-war modernism; it also lay the foundations for urban repair, a concept that would be elevated to become the sometimes all too rigid Berlin creed in the International Building Exhibition and, above all, in Hans Stimmann's post-reunification plan for the city centre.

Kleihues himself contributed conspicuously located projects to this 'new' Berlin, particularly with his Sommer and Liebermann buildings, which today compose the backdrop for the Brandenburg Gate in an adaptation of Friedrich August Stuler's original architectural concept. As in a major essay, so to speak, Kahlfeldt fans open the work of Kleihues, devoting himself to construction and poetry, harmony and utopia. The final aspect is illustrated in the wonderful brass model One House One City, a 1 project accommodating 49, dwellings on the banks of the Seine in Paris.

In a reference to the design for Documenta 8 1 , three geometrical galleries - square, octagon and circle - form the backbone of the exhibition, supplemented by Kleihues's favourite 'ship shape', which he used for the street furnishings in Unter den Linden. Kleihues created a school of followers in the strict sense.

But anyone who is anyone in Berlin architecture today will have spent some time in his office, including such diverse figures as Hilde Leon, Axel Schultes, Benedict Tonon, Jurgen Konig, Klaus Theo Brenner and Petra and Paul Kahlfeldt, who are represented in the exhibition with buildings of their own. This influence on the next generation of architects is one of Kleihues's most important characteristics. A great communicator, he always understands how to direct focus on architecture and art of which he is a passionate collector , and not just within a narrow, specialized circle - in conversation, in discussions and, not least, in his own numerous exhibitions.

Guggenheim Museum invaso da un'ingombrante rassegna del ciclo Cremaster di Matthew Barney - fortunatamente chiusa di li a pochi giorni - la delicata mostra su Malevich, organizzata in collaborazione tra il Guggenheim di New York e la prestigiosa Menil Collection di Houston, avrebbe potuto anche passare inosservata all'inaugurazione, se non fosse per I'eccezionalita dell'occasione offerta al pubblico americano.

Partita dalla sede europea di Berlino della nota catena di musei cash and carry, dove era riuscita ad attrarre ben Si parte dalla necessaria, veloce, fase cubista 1 91 1 -1 91 3 o cubo-futurista - secondo i canoni con cui nel secolo scorso critici ed etichettatori di artisti vari si sono divertiti a giocare con le parole - per arrivare presto al primo Quadrato nero su fondo bianco.

The Yellow and Black Supremus no. Cosi per tutta la mostra, cio che si vede non e cio che sembra: Sfugge al commentatore mondano, che frequenta le mostre come i cocktail, il misterioso fascino dell'insondabile, dell'equivoco, dell'opera aperta, di cui e piena I'astrazione suprematista e che fa piuttosto di quei "modelli architettonici" ideali composizioni volumetriche pronte a diventare qualsiasi cosa: E davvero il senso di mistero della forma indefinita a dominare e rendere irresistibilmente piena di fascino I'opera pionieristica di Malevich, ma anche un altro genere di mistero, religioso ed arcaico.

Ne tratta autorevolmente, in catalogo, la studiosa Yevgenia Petrova, che fa subito piazza pulita degli equivoci tra avanguardia e politica rivoluzionaria, chiarendo che le opere piii radicali - non solo di Malevich, ma di tutta I'avanguardia russa - precedono di gran lunga la Rivoluzione di Ottobre del E non puo allora il Quadrato, soprattutto se moltiplicato o diviso per quattro come i suoi lati, ricordare forse il Tetramorfo?

Quella rappresentazione molto antica, dalla Torah ebraica all'Apocalisse di San Giovanni con I'immagine dei Quattro Evangelisti, simbolo che a sua volta deriva dagli animali sacri venerati in area mesopotamica, e che nelle tradizioni esoteriche vede associati i quattro elementi cosmici e qualita sapienziali: Non evoca questo senso esoterico, per esempio, Quattro Quadrati, I'olio su tela bianco e nero del Museo Radischev di Saratov?

Lo stesso quadro compare in un altro libra catalogo, oltre a quello del Guggenheim. E il volume Malevich and Film di Margarita Tupitsyn, edito in occasione di un'altra bella mostra, I'anno scorso, al Centra Cultural Belem di Lisbona, che apre squarci di realta inediti sull'opera deN'artista, non solo 'pittore' mateorico, amante del cinema, di tutto il cinema: Bizzarrie della sorte a parte, nella mitologia fantastica la complessa simbologia del Tetramorfo evocata da Quattro Quadrati trova unita proprio nella figura fantastica della Sfinge, animale mostruoso monstrum, da mostrare che rappresenta tutti gli elementi insieme e che pone enigmi, quasi irrisolvibili, ai mortali Se nella mostra di Barney cio che conta e la definitiva spettacolarizzazione dell'idea di museo contemporaneo, in quella del suprematista Malevich risulta ancora fondamentale ed efficace I'idea che I'opera suprema si compia proprio attraverso la distruzione che pure evoca arcaici significati cerimoniali dell'opera d'arte tradizionale: L'arte, sublime o infima, profondamente banale o riccamente ambigua, proprio non vuole morire.

Stefano Casciani The enigma of the square "Living is easy with eyes closed Misunderstanding all you see. Guggenheim Museum taken over by Matthew Barney's Cremaster show, the delicate exhibition of works by Kazimir Malevich, jointly organized by the New York Guggenheim and the Menil Collection in Houston, might have passed unnoticed at the opening if it hadn't been for the exceptional occasion presented to the American public.

Having started at the European headquarters of the celebrated cash-and-carry museum chain in Berlin, where it drew a staggering 70, visitors despite the austerity of the Berlin Guggenheim, carefully designed by Richard Gluckman, who also did Dia New York and the Andy Warhol Museum , the New York event has an air of mystery nicely attuned to the initiatory significance of Wright's spiral. The mystery, or simply the suggestion of it, stems from the low lighting necessary in the galleries to prevent damage to works that Malevich certainly never envisaged as lasting forever, and that are therefore in permanent need of care and restoration.

But the mystery also arises from the pedagogical path followed by a complete sequence of drawings, paintings and models that give, perhaps for the first time, an organic idea of the artist's complex world. The collection starts from Malevich's necessarily rapid cubist 3 or cubo-futurist period and moves directly to 1 91 5, to the first Black Square on White Ground.

Perhaps the first and most famous oil on canvas to proclaim a pure and simple geometric abstraction, it is accompanied by other, perhaps less famous canvases - Circle, Cross and Elongated Plan, likewise black on white grounds. These however, in their philologically more than usually precise titles, carry an idea of the analytical process behind Malevich's observation and expression: Circle is not only that, but also a plane in rotation, true to the constant dynamism of his work before ; in Dissolution of a Plane, another oil on canvas, a red plane dissolves into white to acquire shape and a third dimension.

Throughout the exhibition, what you see is not what it seems. Thus the equation put forward in the New York Times by Roberta Smith on the subject of Architekton and their white volumetric compositions, crudely interpreted as 'white-on-white architectural models, whose scale is quite a bit too overbearing and too Soviet', sounds like the wrong end of the stick or just plain incompetence.

The socialite commentator treats exhibitions as parties and misses the mystery and magnetism of the unfathomable, of the equivocal openness of which suprematist abstraction is replete and that, in fact, makes those 'architectural models' ideal volumetric compositions ready to become anything, from sculpture to city.

It is indeed the mystery of indefinite form that dominates Malevich's pioneering work and makes it so compelling. But there is another mystery about it, one that is religious and archaic, an aspect dealt with authoritatively in the catalogue by Yevgenia Petrova, who immediately dismisses any misunderstandings about a connection between avant- garde art and revolutionary politics.

She points out that the most radical works - not only those of Malevich, but of all the Russian avant-garde - were made long before the revolution of October 1 91 7.

So couldn't the Square, especially if multiplied or divided by four like the number of its sides, perhaps be a reminder of the tetramorph, that ancient representation, from the Hebrew Torah to the Apocalypse of Saint John with the image of the Four Evangelists, a symbol in its turn derived from the sacred animals venerated in Mesopotamia?

In esoteric traditions, the four cosmic elements are associated with qualities of wisdom: Isn't this esoteric sense evoked, for example, by Four Squares, the black-and-white oil on canvas at the Radischev Museum in Saratov?

The same painting appears in the Guggenheim catalogue as well as in another publication: Malevich and Film by Margarita Tupitsyn. Published on the occasion of another good exhibition, held last year at the Centra Cultural Belem in Lisbon, her essay opens up new horizons on the work of this artist, not only as a painter, but as a theorist and enthusiast for cinema, all cinema - not just the abstract kind that seems directly inspired by certain of his own works, but also the figurative kind.

As a crowning contradiction, whether a curatorial or printing error -not unlike the fiction of Gogol or Bulgakov, so inevitably associated with Russian modernity - in one book Guggenheim the first square in the top left is white, and in the other Belem it is black! Whims of fate aside, in fantastical mythology this complex symbology of the tetramorph is unified in the fantastic figure of the Sphinx, the monstrous animal representing all of the elements together and posing - almost insoluble - enigmas to mortals.

If in the Barney show what matters is the definitive idea of the contemporary museum as entertainment, in that of the suprematist Malevich the idea that the supreme work is done precisely through destruction nevertheless evoking archaic ceremonial meanings of the traditional work of art remains pivotal and efficacious.

That is the only claim by the earlyth-century avant- gardes not endorsed by today's artists, due to economic necessity or simply to an instinct for survival. Art, be it sublime or ridiculous, profoundly banal or richly ambiguous, just doesn't want to go. Stefano Casciani Croce Nera, olio su tela, Gli obiettivi sono ambiziosi: Nata per diventare un evento regolare, questa Biennale ha patito numerosi cambiamenti al vertice.

Dopo Christine Feireiss, il testimone e passato ad Aaron Betsky, per poi essere affidato a Francine Houben, partner dello studio Mecanoo. La Houben possiede una consolidata esperienza sul tema proposto: In pochi mesi ha dovuto coordinare un lavoro di ricerca, allargando al massimo il campo e accostando esperienze molto diverse. II progetto si concentra sul punto di vista del viaggiatore e ne analizza, oltre al fatto tecnico, I'esperienza spaziale.

II motto "A Room with a View" sottolinea come, a fianco delle infrastrutture, i singoli mezzi di trasporto ricoprano un ruolo fondamentale. L'auto diventa il paradigma di questa percezione. Le tre mostre principali della Biennale sono presentate al NAI. L'allestimento propone nove automobili piazzate su pedane circolari in movimento. II modello e quello tipico di una grande fiera dell'auto, ma ogni pedana e circondata da una parete curva su cui e proiettato un video dedicato a una singola citta.

II visitatore sale sulla macchina e assiste alio spettacolo urbano. L'intuizione non e sviluppata completamente e I'idea ludica di mettere la macchina al centra della questione non e supportata da una messa in scena coerente. Seduti al volante non si ha la percezione delle citta. Video e installazione non dialogano a sufficienza. Rumori di radio locali accentuano la confusione, pur restando una curiosa divagazione.

Sono sottolineate da una passerella sospesa - metafora di un'autostrada - che si relaziona a due pareti: Poi ci sono i progetti sviluppati da workshop di studenti delle locali universita; anche in questo caso il livello di interesse e molto discutibile.

Merita una menzione particolare il progetto per Citta del Messico in cui il nastro stradale, che attraversa la citta, si modifica morfologicamente a seconda del tratto percorso. Un gruppo di storici e critici commentano La Biennale di Rotterdam analizza i diversi aspetti della mobilita.

Mobility was the theme of Rotterdam's Biennale alcune delle principali ipotesi e visioni utopiche sulla mobilita sviluppate nel Novecento. I commenti sono raccontati da proiezioni video su parabrezza appesi al soffitto; da qui pendono cuffie audio che integrano cosi la visione di questi inconsueti televisori. Al piano superiore e allestita "Holland Avenue"; in essa undici scuole internazionali hanno metaforicamente percorso un tratto dell'autostrada A13, asse portante del sistema viario olandese, e sviluppato progetti di percezione del paesaggio, esplorando cosi diverse forme di impatto ambientale.

II gran numero di attivita previste permette di misurare I'ambizione di questa Biennale. Resta la sensazione che i molti mezzi a disposizione non siano stati confortati dal tempo necessario per garantire un risultato veramente convincente. Maurizio Cohen A Room with a View The subject of the first International Architecture L'allestimento di alcune parti della Biennale di Rotterdam rievoca quello di una fiera automobilistica.

The exhibition's goals are ambitious: Intended as a regular event, the biennial got off to a shaky start after suffering numerous changes at the top. After Christine Feireiss, who originally conceived the event, the baton was passed to Aaron Betsky and then to Francine Houben, a partner of the firm Mecanoo. Houben has a thorough knowledge of the theme, having researched it for the Dutch government.

Moreover, she holds a chair in the 'Aesthetics of Mobility' at Delft University. She had only a few months to coordinate a task of research and preparation widened to embrace the most diverse possible experiences. The project focuses on the issue as viewed by travellers, exploring spatial experience as well as the technical aspects of mobility. Alongside matters of infrastructure, A Room with a View is a theme intended to point up the key role played by individual means of transport, and indeed the car is taken as the paradigm of this perception.

The biennial's three principal exhibitions were staged at the NAI. World Avenue surveys the main traffic systems of seven cities and two regions Los Angeles, Beirut, Budapest, Jakarta, Beijing, Mexico City, Tokyo, the Ruhr and the Pearl River Delta in China , applying the same study model to all locales and highlighting the differences between urban and cultural situations and the way traffic operates. The 1 exhibition presents nine cars mounted on rotating circular platforms.

The visitor gets into the car and watches the urban performance - an idea that is 1 not fully developed. Seated at the wheel, you don't get enough of a perspective of the cities concerned, and there isn't enough dialogue between the video and the installation. Adding to the confusion is noise from local radio stations, a curious digression. The information given about each city is, however, very clear and accessible, emphasized by a suspended walkway - a metaphor for the motorway.

The walkway relates to two walls on which images are projected, mixed with information and statistics. Next come projects developed by student workshops from local universities, and here again the level of interest is highly arguable and variable. Worthy of mention is the project for Mexico City, in which the ribbon road through the city changes according to the stretch you happen to be driving along. Motopias is certainly the most theoretical section of the show, but it is also the most consistent as far as its topic and presentation are concerned.

A group of historians and critics comment on some of the principal Utopian hypotheses and visions of mobility of the 20th century. The comments are accompanied by video projections on windscreens suspended from the ceiling, which in turn have earphones hanging from them to complement viewing of these odd television screens. Situated on the upper floor is the Holland Avenue section. Here 1 1 international schools have metaphorically driven along a stretch of the A1 3 motorway, the main axis of Holland's road system, and developed landscape projects exploring various forms of environmental impact.

The extensive schedule of activities that accompany the exhibitions demonstrates how ambitious this biennial is. One is left, though, with the sensation that the many means at its disposal have not been matched by the time necessary to ensure really convincing results.

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Mensole, contenitori, vetrine, cassettiere e numerosi altri accessori permettono di attrezzare Zenit secondo necessita. Tra le ultime acquisizioni della collezione c'e Flat, il tavolo al centra della composizione illustrata nella pagina a destra. Dall'aspetto semplice e minimale, Flat e una sintesi di design e tecnologia, dove la forma morbida e armoniosa della struttura in alluminio si contrappone al rigore del piano d'appoggio, realizzabile in vetro stratificato laccato lucido, in legno o marmo bianco di Carrara.

II tavolo e completamente smontabile: Sullo sfondo dell'ambiente illustrato nella pagina di destra si nota Plana Slim, una porta a battente dalle caratteristiche estetiche davvero innovative. Un'unicasuperficie perfettamente lineare e inserita fra il sottilissimo profilo d'alluminio e il pannello interno, qui proposto in rovere sbiancato.

II sistema Zenit sopra permette di costruire soluzioni adatte a tutti gli ambienti della casa. I montanti d'alluminio, privi di fori o agganci prestabiliti, possono essere fissati a tutta altezza, da soffitto a pavimento, oppure a parete. I montanti reggono mensole, contenitori, vetrine, cassettiere e numerosi altri accessori, disponibili in numerose finiture, tra le quali il rovere sbiancato qui suggerito. The Zenit system, above, makes it possible to construct solutions suited to every room in the house.

Aluminium uprights, devoid of pre-established holes or connections, can be fastened at a full floor- to- ceiling heights or on the wall. The uprights support shelves, case pieces, showcases, chests of drawers and numerous other accessories, which are available in numerous finishes, including the bleached oak shown here.

The Flat table, at the centre of the opposite page, is completely demountable without visible screws or joints Informazione aziendale Manufacturer's information Rimadesio: The collection is versatile, characterized by a high degree of technological sophistication. The principal materials are aluminium and glass, to which wood and marble are added to generate original combinations and novel models. To the opposite page is Zenit; a display and storage system for every area in the home, it is characterized by lightness and luminosity.

Exceptional compositional versatility allows the user to position each element according to the desired quantity and height, simply by fastening it to aluminium uprights free of prefixed holes or connections. The system offers rapidity and ease of assembly as well as the option of varying compositions overtime. Uprights can be fixed at full floor-to-ceiling heights or on the wall.

Shelves, case goods, showcases, chests of drawers and numerous other accessories allow users to furnish Zenit according to their needs. One of the collection's latest acquisitions is Flat, the table at the centre of the composition shown at right.

Vaunting a simple, minimal look, Flat is a synthesis of design and technology in which the soft, harmonious shape of the aluminium structure counterpoints the rigour of the top.

The latter can be made of glossy lacquered stratified glass, wood or white Carrara marble. The table is completely demountable. The sophisticated assembly technology is hidden away on the inside of the aluminium extrusions that make up the frame, without no screws or joints visible.

Notable in the background of the setting shown at right is Plana Slim, a side-hinged door with aesthetic characteristics that are truly innovative. A unique, perfectly linear surface is fitted between a wafer-thin aluminium profile and an interior panel, offered here in La porta Plana Slim presenta un'unica superficie perfettamente lineare che e inserita fra il sottilissimo profilo d'alluminio e il pannello interno.

II copristipite ha uno spessore minimo. L'azienda fornisce un falso telaio specifico di facile installazione e regolabile in funzione dello spessore delle pareti da 10,5 a 12,5 cm The Plana Slim door vaunts a unique, perfectly linear surface that is fitted between a wafer-thin aluminium profile and the interior panel.

The masking profile has a minimal thickness. The company supplies a specific false frame that is easy to install and can be adjusted according to the walls' thickness from La cucina e diventata il luogo nel quale si concentrano innumerevoli attivita domestiche e familiari: Le lavastoviglie Techna Rex di nuova generazione offrono le migliori prestazioni di lavaggio tutti i modelli sono in classe A di efficacia di lavaggio , i minimi consumi di energia tutti i modelli sono in classe A di efficienza energetica , la massima flessibilita d'uso e un livello di silenziosita mai raggiunto sinora.

Per raggiungere questo traguardo, le nuove lavastoviglie sono state perfezionate nei laboratori di ricerca sul rumore, analizzando i punti critici ed apportando le modifiche necessarie ad ottenere la massima silenziosita: II rumore medio e stato dimezzato, ma soprattutto sono stati eliminati i picchi di frequenze alte e basse, le piu fastidiose per I'orecchio umano. I programmi di lavaggio soddisfano ogni esigenza. Selezionando il programma Automatico, la lavastoviglie sceglie in automatico il ciclo adatto alia quantita di carico e al livello di sporco.

II suo funzionamento e basato sui dati rilevati da un sensore di torbidita, che rileva il grado di sporco delle stoviglie, e dal sistema Fuzzy Logic, che valuta la quantita del carico: La gamma di nuove lavastoviglie Techna Rex Built-in e dawero completa anche per quanto riguarda I'estetica. Per i cultori del design rigoroso c'e TQ 00 A-NE in alto , la lavastoviglie della linea Quadro, una High Techna con prestazioni di assoluta affidabilita, Classe AAA per quanto concerne consumi energetici, efficacia di lavaggio e asciugatura.

Le lavastoviglie Rex sono dotate del sistema di sicurezza integrato Aqualock The new Techna Rex range of built-in dishwashers offers a wide variety of aesthetic alternatives. This dishwasher from the Quadro line offers reliable performance and is rated Class AAA for energy consumption and washing and drying effectiveness. Users who prefer Inoltre, le opzioni speciali consentono di adattare i singoli programmi alle diverse abitudini o necessita d'uso.

L'opzione 3 in 1 , per esempio, ottimizza I'azione delle pastiglie che riuniscono in un unico prodotto detersivo, sale e brillantante, molto usate dai consumatori italiani, ai quali e destinata anche l'opzione Extrarisciacquo, pensata per eliminare ogni residuo di detersivo in polvere, il preferito dagli italiani, ma spesso impiegato in dosi eccessive. Infine, la Partenza ritardata permette di posticipare I'avvio del ciclo di 19 ore: Per migliorare la flessibilita d'uso, lo spazio interno delle lavastoviglie e stato razionalizzato al massimo.

II cesto superiore accoglie una doppia fila di piatti e puo essere regolato in altezza, anche a pieno carico, grazie al sistema Lift Basket. II cesto inferiore e dotato di rastrelliere reclinabili. II mezzo carico distribuito, infine, dotazione dei modelli elettronici, consente, grazie al funzionamento di entrambi i mulinelli, di lavare al meglio e con consumi minimi i carichi ridotti. Nei modelli elettromeccanici e possibile lavare mezzo carico di stoviglie, collocandole tutte nel solo cesto inferiore.

The latest generation of Rex Techna dishwashers feature five-star washing performance class A for washing effectiveness , near-zero energy consumption class A for energetic efficiency and a flexibility of use and noise level never before achieved.

Noise has been reduced to at least 60 per cent compared to previous models; in premium units sound pressure drops to no more than 30 dB A , equivalent to 45 dB in sound power. The latest Rex dishwashers were perfected in noise research laboratories by analyzing critical points and making the necessary adjustments for optimal silence, using soundproofing materials to insulate the noisiest components, adopting shock absorbers on tub and pumps, redesigning the gentler, more rounded lines will opt for built-in household appliances from the Soft line, which includes the TS 00 XE dishwasher, below.

Rex dishwashers come equipped with the Aqualock built-in safety system Le lavastoviglie da incasso si differenziano anche per la posizione del cruscotto. Possono essere integrate con cruscotto a vista, come il modello TP XE in alto , oppure integrate totali, come TT XE in basso , con il pannello comandi ricavato nello spessore della porta.

La gamma Rex Built-in comprende anche apparecchi da 45 cm, nel tipo con cruscotto a vista o integrate totali The position of the instrument panel is one of the distinguishing characteristics of a built-in dishwasher. They can offer a visible control panel, as in model TP XE, above, or totally built-in, as in the case of TT XE, below, whose instrument panel is carved out of the thickness of the door. The Rex Built-in range also offers cm units with a visible or totally built-in instrument panel Informazione aziendale Manufacturer's information Per garantire una totale flessibilita d'uso, lo spazio interno delle nuove lavastoviglie Techna Rex e stato razionalizzato al massimo.

Come si pud vedere dall'interno del modello TT E qui illustrate il cesto superiore permette di inserire una doppia fila di piatti; inoltre, pud essere regolato in altezza, anche a pieno carico, grazie al sistema Lift Basket.

II cesto inferiore e dotato di rastrelliere reclinabili, che consentono di posizionare le pentole nel modo piu corretto. II cestello portaposate e costituito da due parti separabili che permettono di ridurne I'ingombro a favore di maggior spazio per pentole e piatti To guarantee total flexibility of use, the interiors of the new Rex Techna dishwashers have been fully rationalized.

As seen in the model TT E pictured here, the upper basket accommodates a double row of plates and is height-adjustable, even with a full load, thanks to the Lift System Basket. The lower basket comes equipped with moveable racks, which make it possible to place pots in the most appropriate position.

The cutlery basket consists of two separable parts that create more space for pots and plates Informazione aziendale Manufacturer's information Rex Built-in: Noise has been reduced by half, on the average, while extreme frequencies - the ones most annoying to the human ear - have been eliminated.

The washing programmes satisfy all needs. Set to Automatic, the dishwasher selects the cycle appropriate to the load and its level of dirtiness. Its function is derived from data detected by a torpidity sensor, which reveals the degree of dirt present, and by the Fuzzy Logic system, which evaluates the load quantity.

On the basis of this information, the dishwasher chooses the most suitable washing programme for optimal performance and consumption.

Moreover, special options allow users to adapt individual programmes to various habits or needs. The 3-in-1 option, for example, optimizes the action of tablets that combine detergent, salt and brilliantine in a single detergent product.

The same function is performed by the Extra-rinse option, which does away with every trace of powder detergent. Finally, the Delayed Start-up option delays the cycle by 1 9 hours. The noiseless function is never annoying, even at night. To upgrade the dishwasher's flexibility, its interior space has been rationalized to the utmost. The upper basket accommodates a double row of plates and is height- adjustable, even with a full load, thanks to the Lift Basket system.

The lower basket comes equipped with moveable racks. Thanks to the functioning of both whirlpools, when half of the load has been distributed, the equipment that comes with electronic models allows the user to wash smaller loads with minimal consumption.

In electro-mechanical models, it is possible to wash half of the dishes by putting them all in the lower basket. Una lavastoviglie da installare a colonna? Alta solo 45 cm, ha una capacita di sei coperti. II controllo elettronico garantisce ottime prestazioni di lavaggio con qualsiasi tipo di stoviglie e di sporco A dishwasher installed in a column? The compact TCC 8 C Rex Built-in, an entirely built-in dishwasher in two overlapping examples here , measures just 45 cm in height and accommodates six place settings.

Beacon propone I'arte a scala monumentale. Gli interessati potranno esercitare i diritti previsti dall'art. Minimum 1 copies of each article may be ordered from Tel. Promomedia, via Buonvicini 21 - Firenze, tel.

Interspazi, via Giano Parrasio 23 - 52 Roma, tel. MPM, via Notarbartolo 4, Palermo, tel. Giampiero Apeddu, viale Marconi 81 , 31 Cagliari, tel. Si prega di accertarsi sempre della effettiva disponibilita delle copie. I dati saranno oggetto di trattamento prevalentemente informatico ai soli fini della corretta gestione dell'ordine e di tutti gli obblighi che ne conseguono. Postal charges not included Payment method: Via Manzoni 12, Rozzano Ml Tel. Taanila Desura La "Future House", disegnata dall'architetto finlandese Matti Suuronen, fu realizzata per la prima volta nel La casa, che si rifaceva all'idea di disco volante secondo I'immaginario collettivo del tempo, per la compatta forma ellittica percorsa al centre da una 'cintura' di finestre a oblo, per I'accesso attraverso una scala estraibile e I'appoggio su sottili sostegni metallici, ebbe grande popolaritafino ai primi anni '70, e fu costruita, anche se in un numero limitato di esemplari, oltre che in Finlandia nei paesi piu diversi: La casa fa ora parte della collezione permanente del Centraal Museum di Utrecht, e il filmato che ne illustra la 'storia' Future.

E proprio dalla realizzazione del filmato che e nata I'occasione del volume curato da Home e Taanila cui si deve anche la regia del documentario , ove si trovano alcuni saggi critici oltre a un'ampia documentazione fotografica e a numerosi brani del filmato riprodotti in un DVD allegata. I due curatori prevalentemente illustrano i diversi stadi di elaborazione del progetto e la rapida diffusione del nuovo prototipo di abitazione, la cui popolarita fu paradossalmente innescata proprio dall'accoglienza polemica da parte deU'establishment finlandese, ma introducono anche la questione a cui i saggi seguenti cercano di dare risposta e cioe quella del successivo, altrettanto rapido declino delle funzioni per cui era stata progettata, e della sopravvivenza invece deH'immagine della casa nella pubblicistica e la sua conseguente riscoperta da parte del mondo deN'arte.

La Future infatti e vissuta fino ad ora piu come immagine che come oggetto, piu nella rappresentazione che nella realta. Rimane, per dirla con Roland Barthes, un "artefatto culturale mitico", uno spazio che tutti hanno abitato virtualmente attraverso la sua esposizione mediatica.

La casa di Suuronen rappresenta un unicum nel panorama della ricerca sperimentale sulla abitazione-tipo della "citta del future" del ventennio a cavallo tra gli anni '50 e '70 perche incarna alcune delle caratteristiche presenti tanto nell'utopia tecnologica, per esempio di Buckminster Fuller, di Frei Otto o dei Metabolisti giapponesi, quanto in quella proto-radicale, soprattutto di Cedric Price e degli Archigram.

Dai primi e infatti mediata la fiducia nell'uso dei nuovi materiali e nelle lore possibility di sfruttamento, di cui sono conseguenza tanto la determinazione d'uso quanto la forma che, indotta da queste necessita, spesso assume valori simbolici di archetipo; altrettanto evidente e poi il riferimento concettuale ai molti progetti di case 'capsula' degli Archigram, dal 'Capsule' di Warren Chalk al La "Futuro House" del , realizzata dalla Monsanto Chemical Company.

Alia Futuro tuttavia mancano gli aspetti piu 'nobili' delle sperimentazioni a cui si ispira: Abitazione invece progettata su commissione, e realizzata in vista di una produzione di massa, la Futuro House non sopravvisse alia realta della crisi energetica e agli alti costi di produzione. Rimane pero la sua immagine, proprio perche simbolo di alcune commistioni e ambiguita irrisolte, perche "la sua forma non deriva dalla funzione ma dalla fantasia, e in maniera particolarmente suggestiva.

Perche la sua forma non e 'eterna' ma 'effimera'. Perche il suo spazio e sia 'immaginato' che 'costruito'. Inspired by the grip of flying saucers on the popular imagination, the house struck a chord in the early s. Its charm may be attributed to its compact, elliptical shape, ringed by 'portholes'; the entrance by means of an extractable ladder; and the fact that slender metal struts supported it.

It was presented at a host of exhibitions as a model home or spatial enclosure of functions, satisfying the diverse requirements of urban or vacation houses. But Futuro was fated for a different end; instead of a utilitarian object and house, it was gradually adopted by the art world as an icon of the moment's pop, high-tech experimentation, and never went beyond the novelty value of the early years.

Now the dwelling is part of the permanent collection of Utrecht's Centraal Museum; a movie illustrating La "Futuro House", del , di Matti Suuronen, qui usata per attivita sciistica sui monti Dombay in Russia. Futuro House, used for skiing on the Dombay Mountains, Russia as it was in its 'history' Futuro: The making of this documentary offered Home and Taanila who also directed the film the chance to edit this book.

It features essays, photographs and numerous clips from the movie on an enclosed DVD. The editors depict the various stages in the development of the design and the popularity of the innovative home typology paradoxically, Future's success was actually triggered by the resistance of the Finnish establishment.

The critics also address the failure of the functions the house was created to perform, its survival in journals and its consequent rediscovery by the art world.

Today the Futuro House has survived more as an image than an object, more as representation than reality. As Roland Barthes put it, it is 'a mythic cultural artefact', a place everyone has lived in vicariously, thanks to extensive media coverage.

Suuronen's home is unique in the experimentation on the model house for the city of the future between the s and s. In fact, it incarnates attributes of certain technological Utopias for instance, Buckminster Fuller, Frei Otto and the Japanese metabolists as well as proto-radical examples particularly Cedric Price and Archigram. The former generated the confidence to use innovative materials and to explore their potential, which determines the employment of the form and takes on the symbolic value of an archetype.

Progressively, they were transformed from prototypes conceived largely to study novel methods of production, assembly and construction into lighter, smaller mobile housing. Their details became increasingly sophisticated, making them forerunners of the nomadism that would characterize the global city of the media. However, Futuro lacked the 'nobler' facets of such experiments, including the scientific rigour of structuralist Utopias, which digress when they address the monumental.

In any case, since they are extrapolations based on the calculations and observations of natural elements, they only are Utopian in terms of future use; the proto-radicals' mode of addressing social problems, meanwhile, disregards real function by ironically stating a 'theoretical' function.

Instead, the Futuro House, designed and built for a client, did not survive the oil crisis and high production costs. Its image remains as the symbol of unsolved combinations and ambiguities: Its form is "ephemeral", not "eternal". Its space is both "imagined" and "built"'. E comunque la prima volta dopo un lungo periodo che la storia e I'avvenire della capitale - definita qui sovente come "centro-citta" - sono considerati unitamente in una comunita di destino con la storia e I'avvenire della regione parigina nel suo insieme.

Quello che per altre metropoli e dato per scontato per Parigi e ancora oggetto di dibattito: Come operare perche la geografia della regione He-de- France prevalga infine sulla sua storia, una storia che non ha cessato di porre ostacoli alia creazione di una Piu Grande Parigi espressione oggi rifiutata per la sua connotazione troppo colonizzatrice?

E allora necessario concentrare il dibattito sul rapporto tra centre e periferia benche la regione parigina appaia oggi piu come un "arcipelago metropolitano" che come una entita stabile e coerente. E quanto osserva J-P Pranlas-Descours a proposito di questo "arcipelago instabile": La questione dei trasporti in comune e, lo si sara compreso, una delle piu complesse. Fu questa, nel , il criterio principale per definire i confini della Regione parigina; ed e ancora per rimediare all'intasamento di Parigi che si costruira, tra il e il , il Boulevard periferico, ultima cerchia di una citta che aveva distrutto le sue fortificazioni.

Quanto ai piani regolatori di Parigi, quello di Leon Jaussely, vincitore del concorso del , poi quello di Henri Prost nel , misero I'accento sul sistema di trasporti della regione, sul collegamento tra Parigi e le grandi strade o autostrade nazionali. All'origine di questo ritardo vi e I'eterna sovranita e autonomia di Parigi, da qui venne la mancanza di collegamento con le stazioni della ferrovia: L'insistenza a realizzare la traversata di Parigi ha contribuito a rafforzare la sua centralita; che ne e in effetti dei trasporti tra i comuni periferici?

Da un punto di vista generale e dell'assenza di dialogo tra Parigi e la sua periferia che la regione ha sofferto: Come ormai e sua consuetudine, il Pavilion de I'Arsenal attinge alia storia per alimentare la riflessione sui problemi contemporanei. Concepito come un doppio volume questa opera riunisce decine di contributi; presenta in un primo tempo "Territoires partages", le linee di forza della storia dell'Tle de France: II caso piu emblematico e quello della Bievre, fiume mitico del sud parigino che si getta nella Senna in prossimita del Jardin des Plantes, fiume canalizzato e in seguito interrato e il cui corso di quarantacinque chilometri ha notevolmente caratterizzato le citta attraversate.

Da alcuni anni la Bievre e oggetto di diversi progetti, alcuni miranti alia sua ricreazione in Parigi, e altri meno regressivi che ambiscono a fame il prototipo di un paesaggio partecipato. La seconda parte dell'opera "L'archipel metropolitan" esamina tre tipi di approccio alle grandi questioni poste da questo arcipelago: Numerosi progetti urbani, dalla piccola alia grande scala, testimoniano dell'ampiezza dell'opera: I problemi non sono gli stessi nella vicina e lontana periferia: A modern interpretation of the great 19th-century iron and glass greenhouses.

The greenhouse in Park Andre-Citroen in Paris designed by the architect Patrick Berger and the RFR engineering office, erected from to deindustrializzazione Boulogne- Billancourt e le sue officine Renault, Pantin e i suoi Grands Moulins , il fenomeno maggiore di questi ultimi decenni; per gli altri si tratta di ridonare a degli spazi poco o male qualificati una nuova 'urbanita', di riabilitare il grande insieme senza cedere alia 'residenzializzazione', marchio fisico dei limiti della proprieta che non puo rimediare a tutti i problemi.

Una tale somma di progetti convincera chiunque della necessaria apertura di Parigi sulla sua regione, non perche la periferia assomigli ormai a Parigi, ma piu semplicemente perche il dialogo troppo a lungo interrotto ricominci. Or maybe its just the product of Paris's new political administration? Regardless, this is the first time in a long while that the capital's history and future have been considered in tandem. Some things are taken for granted in other towns, but in Paris they still subject to debate.

How can districts lying on opposite sides of the Peripherique be connected when some are administratively in Paris and others belong to outlying suburbs? How can the Tle-de-France region overcome its history of impeding the creation of Greater Paris an expression that is currently out of fashion because of its overly colonialist connotation? Although Paris today seems more like a 'metropolitan archipelago' than a stable, coherent body, one must focus the discussion on the relationship of the centre to the outskirts.

As J-P Pranlas-Descours observes of this 'unstable archipelago', 'new island passages allow one to build an assembly of places with no relationship in scale, size or quality. From the street to the RER, the shopping centre to the museum and the Isle de la Cite to Les Halles, a succession of totally independent atolls are linked like the beads of a rosary, joined only by the street network'. If it is addressed, public transportation is one of the trickiest issues. In it was the principal criterion for defining the boundaries of the Paris region, and it remained so between and , when the Peripherique was constructed to reduce traffic congestion in Paris.

This ring road is the last bastion of a city that had destroyed its fortifications. Two of the city's master plans - Leon Jaussely's, which won the competition, and Henri Prost's of - were centred on the regional transport network that linked Paris to the major national highways and motorways. It is worth noting that the region of Paris has only recently acquired an adequate railway network.

The delay was caused by Paris's eternal sovereignty and independence, which ensured that there was never a proper connection to the mainline railway stations.

In fact, the RER regional express network was envisaged as far back as , but it was not constructed until The necessity of crossing Paris helped to strengthen its centrality; what has happened to transportation between outlying municipalities? Generally speaking, the region has suffered from a lack of a dialogue between Paris and its suburbs, a problem that occurred in ,1 and again in 1 , with the publication of the region of Paris's guidelines for planning and urbanization.

This perverse separation is primarily the product of the very high density of Paris, but it is also produced by the inability of governments to work together. As is by now its custom, the Pavilion de I'Arsenal draws on the past to reflect upon contemporary problems. Conceived as a double volume, this work was constructed by dozens of authors, who explore the lines of tension in the lle-de-France: The most symbolic example is the Bievre; this mythic river, which flows into the Seine near the Jardin des Plantes, originally had concrete banks and later was covered.

Along its kilometre length, it has had a large impact on the towns it intersects. For several years the Bievre has been subjected to diverse schemes. Some have aimed to re-create it in Paris, while other, less regressive projects hope to make it the prototype of a shared landscape.

The second part of the volume examines three approaches to major issues raised by the archipelago: Numerous large- and small-scale urban schemes - original projects, conversions, the creation of new business or university parks, the rehabilitation of various industries - testify to the breadth of the publication.

Every city council is involved in town planning or has been called upon to join an interurban structure.

The problems differ depending on the proximity to Paris. In recent decades, distant sites have had to seek the best deal from the conversion of disused factories Boulogne-Billancourt's Renault plant, Pantin's Grand Moulins. More central areas must provide under equipped spaces with more urban character, rehabilitating them without succumbing to the pitfall of mono functional housing. The physical limitation of property cannot solve all of the problems.

This set of schemes will convince anyone that Paris must join its region - not so that the outskirts resemble Paris, but so that the long-interrupted dialogue can continue. Si tratta ovviamente di relazioni culturali, di contatti tra Perret e alcuni architetti, ingegneri o intellettuali italiani, a volte di legami ambiguamente politici; ma soprattutto si tratta del ruolo avuto da Perret aN'interno della cultura architettonica - e storiografica - italiana.

Ruolo che non e certo assente prima della II Guerra Mondiale, e che trova una ulteriore fortuna, ad un livello piu ampio e secondo mutate connotazioni, dopo di essa. Non a caso a meta degli anni Cinquanta Ernesto Nathan Rogers pubblica per le edizioni de II Balcone una piccola monografia, Auguste Perret Milano , di cui viene proposta una riedizione anastatica che accompagna il libra curato da Michela Rosso e Sergio Pace, che del volume rogersiano riprende il piccolo formato.

Pace, nel saggio Scomodi pionieri. Fortune e sfortune critiche dei fratelli Perret in Italia 1 , evidenzia come la cultura architettonica italiana tra le due guerre utilizzi contraddittoriamente la figura di Perret; piu come arma polemica che per I'effettiva conoscenza delle sue opere.

II giudizio unanimemente positivo sui magistrale uso del cemento armato, espresso durante gli anni Venti e condiviso da piu fronti, anche se non immune da qualche accusa di formalismo, anticipa una successiva valutazione ancora piu generosa da parte di Marcello Piacentini e Margherita Sarfatti che conosceva personalmente Perret.

II clima favorevole a Perret determina anche I'inclusione di una voce a lui dedicata, e redatta da Pierre Lavedan, nell'Enciclopedia Italiana vol. Tale rilievo, ma soprattutto il sostegno di Piacentini e Sarfatti, provocheranno alia fine degli anni Trenta la reazione dell'avanguardia architettonica italiana, che taccera Perret d'enfasi retorica, proprio in un momento in cui I'architetto francese appare decisamente poco accondiscendente verso le predilezioni architettoniche, ormai tradizionaliste, del Regime.

D'altro canto e lo stesso Perret - come evidenzia acutamente Pace basandosi su una documentazione fino ad ora poco nota - ad alimentare tali ambiguita, quando nel , su incarico del Commissariat General a I'lnformation della Presidenza del Consiglio francese, accettera di scrivere un elogiativo volume sui nuovo volto dell'ltalia fascista, dall'eloquente titolo di Mussolini batisseur, che tuttavia non verra mai pubblicato.

Perret e la cultura architettonica italiana del II dopoguerra, la situazione si pone in ideale continuity con quella precedente, rafforzata dal giudizio della storiografia canonica dell'architettura moderna, che vede in Perret un pioneer, soprattutto per I'uso del cemento armato, ripiegatosi successivamente in una sorta di involuzione classicista.

E principalmente Bruno Zevi, con la sua Storia dell'architettura moderna Torino, a propagandare la linea dei testi di Nikolaus Pevsner e Sigfried Giedion. I risultati porteranno alia realizzazione di una serie di architetture in qualche modo confrontabili - idealmente ma anche formalmente - con quelle di Perret. Due personality paragonabili ben oltre le assonanze formali, come dimostrano le autrici, evitando pero quelle semplicistiche osservazioni che non rendono giustizie dei modi diversi di usare il cemento armato.

Da Perret e infatti impiegato secondo una coerenza quasi ossessiva; Michelucci si dirige invece alia volta di approdi nuovi e sconosciuti, verso una moltiplicazione di esperimenti e di combinazioni tecniche e materiche. Un confronto di genere diverso e invece proposto da Giuliano Gresleri, che in Lo "stile del conglomerato cementizio armato".

Attilio Muggia e la "scuola di Bologna" ricostruisce I'ambiente bolognese in cui si trovo ad operare Attilio Muggia, ingegnere e poi docente alia Scuola di Ingegneria di Bologna. L'organismo architettonico, secondo Muggia, si sarebbe dovuto adeguare a delle leggi tipologiche da intendersi pero come parametri di riferimento e non secondo regole fisse.

Gli obbiettivi pratici sarebbero cosi stati forieri di un nuovo linguaggio. Muggia tuttavia raggiunse una certa liberta espressiva solo in alcune delle sue opere, principalmente in quelle strettamente tecniche, come i ponti o certe strutture industriali; Pier Luigi Nervi, che concluse i suoi studi proprio con Muggia nel , si sarebbe spinto ben oltre. II volume - nella sequenza dei saggi che lo compongono, accompagnati da un esaustivo apparato di note, da un ricco corredo iconografico, e concluso da un utilissimo ed accurato regesto bibliografico curato da Giulietta Fassino - rende decisamente vacillanti le canoniche interpretazioni della figura di Perret, e non solo.

Quello che appare evidente dopo la sua lettura e I'impossibilita, come sostengono gli stessi curatori, "di scrivere una storia univoca dell'architettura contemporanea".

Pioneering structure for Turin's central markets building designed between A difficult master This slender volume on the relationship between Auguste Perret and Italy was published by Turin's Municipal Modern and Contemporary Art Gallery on the occasion of its presentation of the travelling exhibition Perret: Of course, the relationships in question were cultural connections between Perret and Italian architects, engineers and intellectuals; at times, the ties were ambiguously political.

Above all, they involved the influence of Italian architectural and historical culture. Certainly, Perret had a part to play before World War II, and later he had a broader effect under different conditions. A facsimile is attached to the book edited by Michela Rosso and Sergio Pace, which echoes the earlier publication's small format.

In his essay 'Uncomfortable Pioneers: Critical Fortunes and Misfortunes of the Perret Brothers in Italy ', Pace stresses how interwar Italian architectural culture utilized the figure of Perret in a contradictory way - that is, they exploited him as a polemical weapon rather than acquiring a real understanding of his work.

During the s his masterly use of reinforced concrete was unanimously admired, though there were a few criticisms of his formalism. This was a forerunner of the even more generous appraisal by Marcello Piacentini and Margherita Sarfatti the latter had met Perret.

The positive climate enveloping Perret even caused his name to be entered in the Italian Encyclopaedia, written by Pierre Lavenan Vol. This and the support of Piacentini and Sarfatti were to engender the reaction of Italian rationalism in the late s.

The French architect was attacked for rhetorical emphasis, at a time when he was clearly not supporting the traditionalist stance of the fascist regime. On the other hand, Perret himself, as Pace acutely remarks, based on some heretofore little- known documents, fed that ambiguity. In he was commissioned by the French information ministry to write a positive book on fascist Italy the volume was never published.

In 'In Search of the Prehistory of Modernism: Perret and Post-War Italian Architectural Culture', Rosso emphasizes that the earlier situation was strengthened by the canonical historiography of modern architecture, which viewed Perret as a pioneer, particularly for his use of reinforced concrete, though he later became more classical and introspective. However, this reading was initially and notably changed by Rogers' volume, which confirmed the pioneer rhetoric but also sought in Perret a design method and an architectural idea that could be shared - aside from any formalism - by the notion of continuity.

Subsequently, other architects Vittorio Gregotti, Aldo Rossi, Gianugo Polesello and Francesco Tentori followed the road paved by Rogers, creating buildings that were comparable theoretically and formally with Perret's. The Deceptions of Perception', dwells on one of these comparisons. The authors demonstrate that the two architects' personalities were comparable far beyond the formal harmonies, but they avoid simplistic observations that do not pay justice to the differing ways of employing reinforced concrete.

Perret used it in a nearly obsessive way, while Michelucci headed for more innovative, and uncharted waters, the multiplication of experiments and technical and material combinations.

Giuliano Gresleri offers a different sort of comparison; his 'The "Style of the Reinforced Concrete": Attilio Muggia and the "School of Bologna'" re-creates the Bolognese milieu in which Muggia, an engineer and professor at the Bologna School of Engineering, practiced. In Muggia's opinion, architecture had to comply with the typological laws, conceived as parameters for reference rather than strict rules; the practical goals were thus forerunners of a fresh language.

But Muggia attained a certain expressive freedom only in some of his works, mainly the purely technical ones, such as bridges and factories. Pier Luigi Nervi, who studied under Muggia in , would go much farther. This publication boasts a sequence of essays, exhaustive notes, abundant illustrations and a fine bibliography by Giulietta Fassino.

It represents a decisive critique of the canonical interpretations of Perret and the volume proves the impossibility, maintained by the editors, of 'writing a univocal history of contemporary architecture'. In una veste editoriale tradizionale, semplice ed elegante, questo lavoro di Claudio Gamba ha il merito di aver raccolto e ordinato in quattro grandi aree gli scritti di Argan sul disegno industriale appartenenti a periodi diversi della sua vita.

Nel seguire la cronologia delle pubblicazioni ci accorgiamo che il pensiero critico di Argan si stempera quasi costantemente durante tutta la sua produzione critico-letteraria ad eccezione del decennio degli anni Settanta, dove lo studio della realta oggettuale non sembra interessare I'autore in maniera diretta.

La raccolta di queste opere trova una sua utilita per almeno due motivi fondamentali: Una sorta di antologia critica strutturata per argomenti pensati e sostenuti da uno dei maggiori protagonisti della critica artistica italiana del Dopoguerra. Alia fine degli anni Cinquanta, con I'esplodere di una societa dei consumi dove il moltiplicarsi di oggetti utili e inutili avvia la creazione di un vera e proprio paesaggio artificiale lo studio del linguaggio degli oggetti si carica di significati semiologici, sociologici, psicologici e figurativi nella ricerca di un possibile fine sociale del design.

I nuovi materiali e i fattori innovativi applicati ai processi di produzione industriale fanno intravedere nuovi possibili scenari dei prodotti industriali. Proprio in questi anni viene pubblicata in Francia I'opera significativa di Gilbert Simondon Du mode d'existence des objets techniques che enuncia i principi teorico-critici sulla cultura degli oggetti, opera seguita, dieci anni dopo, dal testo di Jean Baudrillard Le systeme des objets, tradotto pochi anni dopo in italiano.

Sono questi gli anni dove si concentrano maggiormente gli scritti di Argan intorno all'artigianato e I'industria, I'arte e I'industria, il design deN'automobile, la moda, I'oggetto moderno e quello del futuro II saggio introduttivo di Claudio Gamba traccia i contenuti del pensiero critico di Argan in un andamento di tipo cronistorico che abbraccia aree tematiche diverse e permette di ricostruire il suo pensiero "sul doppiofilo intrecciato La poltrona Embryo del di Marc Newson.

Dal volume di Conway Lloyd Morgan: Edizione Skira-Rizzoli, Milano, Marc Newson's Embryo armchair. Published in Conway Lloyd Morgan's book on Newson. Acsta M IfMxasn, 2 0rapa;9. II contrasto tra arte e industria e tra artigianato e industria va via via sfumando nella prospettiva di una possibile reciproca collaborazione sullo sfondo della funzione sociale dell'arte che trova, a partire dagli anni Cinquanta, nella persona di Adriano Olivetti un promotore senza uguali.

Nello stesso arco di tempo lo studio critico di Argan e diffuso tramite la neonata rivista Civilta delle Macchine, con la quale collabora fin dal primo numero insieme a filosofi, tecnici, artisti, progettisti e scrittori nella volonta di far incontrare culture diverse intorno ai binomi arte e tecnica e arte e industria. In questa ottica il ruolo del progetto acquista forza e si arricchisce di nuovi attributi tecnici nella speranza di allontanare i fini del mondo industriale dal capitalismo incondizionato.

II design e visto quindi da Argan come una "metodologia progettuale applicabile all'oggetto come alia citta", e come fattore di integrazione sociale: Nel mondo artificiale degli oggetti pensati dall'uomo, la funzione estetica dovrebbe essere sempre piii esaltata rispetto alia sola funzione economica che invece vede concentrare gli sforzi del capitalismo industriale.

La scoperta dei nuovi materiali e la proposta di nuovi processi produttivi devono portare a nuove forme espressive dove il progetto e visto come " unita assoluta di forma e di materia": Attuali sono anche le conclusioni cui giunse negli ultimi anni della sua vita sulla improbabile alleanza tra arte e industria, senza pentirsi, tuttavia, di avere sostenuto questa tesi. Nella conferenza tenuta a Berlino nel , egli auspica un giusto equilibrio tra i bisogni e la produzione, ossia un design non in funzione del benessere ma dei bisogni; il fine e quello di limitare I'impoverimento delle risorse naturali che apre la strada alia attuale ecocompatibilita del prodotto industriale.

Egli vede il mondo oggettuale futuro come effimero, leggero, policromo, interscambiabile: Spera in una logica dei consumi e dei bisogni e vede, nel bombardamento delle immagini cui siamo esposti quotidianamente, la paralisi della nostra immaginazione che porta alia passiva e apatica accettazione di un ambiente artificiale effimero e troppo poco caratterizzante la nostra esistenza.

Argan ne sottolinea I'interesse per la cultura tecnologica e insieme per quella umanistica, unite da un raccordo funzionale in una possibile collaborazione. Piercarlo Crachi, professore a contratto di Disegno Industriale presso la prima Facolta di architettura di Roma "La Sapienza" Argan and design Explorations of the effects of epistemological thought on the real world cannot disregard Giulio Carlo Argan's writings on design, which spanned more than 30 years, commencing in This simple, elegant and traditional publication by Claudio Gamba is commendable for having collected and arranged Argan's essays on industrial design, dating from diverse periods of his career, into four sections.

By observing the pieces' chronology, we realize that Argan's criticism extended his entire critical and literary career, except for the s. During that decade, it seems the real world did not directly interest the author. There are at least two primary reasons for the utility of this collection; most importantly, a single source now brings together writings that originally appeared in journals, conference proceedings and exhibition catalogues only partially cited by others.

We can also now understand the lesser-known aspect of Argan's thought on industrial design, particularly as a young man. This volume is a sort of critical anthology organized by the issues conceived and supported by one of the most important Italian post-war art critics. In the late s consumerism burst onto the scene, and the multiplication of both useful and useless objects produced a truly artificial landscape.

The study of the language of artefacts took on semiological, sociological, psychological and figurative meanings in the quest for a possible social purpose for design. Novel materials and innovative manufacturing techniques offered a glimpse of fresh potential outlets for industrial products. During the same period, Gilbert Simondon's On the Existence of Technical Objects 1 , a work addressing the theoretical and critical principles of the culture of objects, was published in France.

This was the time when most of Argan's pieces on artisans and industry, art and industry, car design, fashion and modern and future objects were written. Gamba's preface, like a chronicle embracing diverse subjects, outlines the contents of Argan's critique, allowing us to reconstruct his thought 'according to the double interwoven thread of relationships between art- craftwork-industry and design- architecture-planning'.

The contrasts between art and industry and craftwork and industry were gradually vanishing in view of a possible reciprocal collaboration founded on the social function of art. Beginning in the 1 s, Adriano Olivetti was a matchless promoter of this method. Argan's criticism was disseminated by the new review Civilta delle Macchine; he was a regular contributor from the very first issue, together with philosophers, technicians, artists, designers, architects and writers who strove to make various cultures meet around the poles of art and technique and art and industry.

From this standpoint, the role of design was strengthened and enhanced with novel technical attributes, in the hopes of bringing about the end of the unbridled capitalism of manufacturing. Argan treated design as a 'methodology applicable to both objects and towns'. It was also a factor for social integration: In the artificial world of artefacts, the formal function should be increasingly exalted over economic aspects.

Industrial capitalism focuses on the latter, however. The discovery of new materials and manufacturing processes must lead to fresh expressive forms in which design represents 'the absolute unity of form and material'. In these convictions, Argan's thinking is strikingly contemporary. In his final years, he came to conclusions regarding the unlikely alliance of art and industry that were equally modern, but he did not in the least regret having backed this thesis.

In his Berlin lecture, he argued for the proper balance of need and production - that is, design that is a function of need, not well- being. The purpose was to limit the exhaustion of natural resources, paving the way for today's environmentally friendly products. He envisioned the future world of objects as ephemeral, lightweight, polychromatic, interchangeable and mutable.

He desired a logic of consumption and necessity and believed the daily bombardment of our imagination would lead to a passive, apathetic acceptance of an ephemeral world with little impact on our existence. The volume ends with an unedited interview with Adriano Olivetti, the leader of modern industry, the enlightened patron of the arts and advanced capitalism. In it, Argan underscores his interest in both technological and humanistic culture, joined by the functional relationship of potential collaboration.

Questa raccolta di testi, che copre un arco di tempo compreso tra il e il , off re la rara opportunity di vedere il cambiamento di punto di vista della critica d'arte rispetto a un'opera di confine qual e quella di un artista come Cy Twombly. Per molti aspetti egli puo essere considerato uno degli ultimi grandi interpreti di un mezzo artistico che e stato di enorme importanza come la pittura.

Non solo perche egli si rifa esplicitamente alia tradizione mediterranea, che I'artista ha adottato allontanandosi dal territorio statunitense nel quale e nato e si e formato, ma anche perche la sua pittura riunisce insieme diversi caratteri eterogenei tra loro, come I'arte astratta e I'evocazione della grande tradizione figurativa barocca, il connubio tra I'immagine e la parola che richiama testi latini, la riscoperta della raffigurazione infantile che recupera una grande linea novecentesca legata al primitivismo.

Inoltre, la capacita di evocare un'ideadi mito nella rappresentazione pittorica, sulla quale molti interpreti degli anni Ottanta del secolo scorso hanno insistito entro un contesto culturale particolarmente recettivo sulla questione. I quarantatre testi raccolti in questa antologia rappresentano percio un excursus attraverso una vicenda pittorica che dovrebbe indurci a porre la questione del carattere cruciale di questo artista rispetto alia pittura come problema molto dibattuto negli ultimi decenni.

E veramente sorprendente, infatti, che questo artista abbia costituito una presenza abbastanza costante del dibattito artistico dei decenni scorsi, anziche essere relegato come epigono dell'Action Painting americana degli anni Quaranta e Cinquanta. La fine della pittura, o meglio la sua secolarizzazione, in quanto essa non e piii il mezzo sacro attraverso cui si produce il dibattito artistico, ma semplicemente uno dei mezzi possibili - secolarizzati - insieme alia performance, alle installazioni e ai mezzi tecnologici quali la fotografia, Cycnus, scultura di Cy Twombly del Scenes from an Ideal Marriage, by Cy Twombly, il film, il video, coincide con la necessita di avere alcune pietre di paragone che rappresentino un'idea di tale mezzo nel momento della perdita del suo primato.

E forse questa la grande attrattiva esercitata dall'opera di Cy Twombly. II suo carattere preciso e proprio quello di porsi sul limitare tra la pittura intesa come entita sacrale - quale forse si poteva ancor intendere nella prima meta del secolo scorso - e la sua secolarizzazione.

Questo aspetto di confine dell'opera di Twombly e quello che si ritrova nella lettura dei testi critici, distribuiti nel corso di cinquanta anni. Percio, nel testo di Cesare Vivaldi del , affiora la dimensione secolarizzata, per quel tempo, nella quale I'artista ha "acquisito la sua forma peculiare di neo-dadaismo.

I suoi segni che una volta erano confinati al solo 'gesto', autonomo e autosufficiente, gradualmente iniziano a combinarsi fra di loro per divenire interdipendenti, assumere una funzione narrativa che non e lontana da quella rappresentata dalla contaminatio di segni, immagini, materie, oggetti in Rauschenberg" p. Mentre Marcelin Pleynet cita lo stesso Twombly che dice della propria opera: Di qui deriva I'interpretazione della sua pittura come evento, che costituisce il punto di contatto tra la dimensione secolare della sua opera, in quanto I'evento e qualcosa che appartiene alia sfera vitale, e il suo carattere epifanico che la apparenta alia sfera del sacro.

In qualche modo, sulla stessa idea di evento si muove anche il testo di Manfred de la Motte, che lo collega al rapporto con la scrittura: Tuttavia non c'e niente da leggere che abbia significato; e solo I'auto- presentazione del leggere e I'appello afarlo" p.

In questo stesso periodo, altri autori recuperano in modo pi lj esplicito la dimensione mitica della pittura di Twombly, come Richard Hoppe-Sailer e Gottfried Boehm. In tutti questi diversi significati, percio, la pittura - ma anche la scultura - di Cy Twombly si pone in una stazione di confine tra la secolarizzazione, che la colloca a fianco deN'arte degli ultimi decenni e che si ritrova in questo carattere di disfacimento deH'immagine pittorica, e il suo carattere di evento che sembra recuperare un momento sacrale, contemplativo, anche se di continua trasformazione nella rappresentazione, come sostiene Richard Hoppe-Sailer: I termini dei molteplici aspetti dell'opera di Twombly affiorano anche nel dibattito tra gli artisti seguito alia mostra del MoMA del Richard Serra, in quell'occasione, sosteneva: In effetti, sembrava antitetico a questo.

Non lo leggi come leggi gli altri tipi di pittura che trasmettono l'immagine, non c'e immagine nella pittura di Twombly " p. Mentre Francesco Clemente, di contro, affermava: L'opera di Cy Twombly rappresenta, dunque, la grande macchina pittorica che mette in scena se stessa e che ci indica il confine oltre il quale la pittura che viene dopo e quella che accade nell'epoca della riproducibilita meccanica delle immagini.

Maurizio Bortolotti, critico d'arte The secularization of painting Spanning a year period, from to , this collection of essays offers the rare opportunity to witness changes in critical perspective in the production of a transitional artist. In many ways, Cy Twombly can be considered one of the last great painters.

This is partly because he explicitly refers to the Mediterranean tradition, for he adopted it when he left the United States, where he was born and trained. His painting unites diverse tendencies, such as abstract art and the great representational baroque tradition, the marriage of image and text echoing Latin books and the rediscovery of children's paintings following a significant 20th-century trend related to primitivism.

Twombly ultimately evokes the myth of pictorial representation, which many s artists insisted upon, in a particularly favourable cultural context. The 43 pieces in this anthology provide an overview of the artist's essential nature, a much- debated problem in past decades.

In fact, it is truly surprising that this painter has continued to occupy the centre of recent artistic debate in, instead of being forgotten as a relic of American action painting in the s and s. Painting had ended; or rather, to be more accurate, it was secularised - it no longer is the sacred medium for engendering artistic debate; it is just one of the many possible media, including performance, installation and technical media such as photography and video. Perhaps this is why Twombly's production is so appealing: Hence, in Cesare Vivaldi's essay on the then secularized side of his surfaces, the artist 'achieved his peculiar form of neo-dadaism.

His signs that once were confined to the only self-sufficient, autonomous "gesture" gradually began to combine together, to become interdependent, to take on a narrative function that is not far.. Album - Enciclopaedia, with Juli Capella, Edizioni Electa, Barcelona represented by this contaminatio of signs, images, matters, objects in Rauschenberg'. Marcelin Pleynet quotes Twombly, who had this to say about his own work: The line doesn't illustrate; rather, it is the perception of its own realization'.

This leads to the reading of his painting as an event, constituting the point of contact with the secular side of his creations. In fact, events belong to the vital sphere and their epiphanic character falls into the sacred sphere.

In a way, the same happening concept lies behind the essay by Manfred de la Motte, linking it to script: But there is nothing meaningful to read there; it is the self-presentation of the reading and the call to do so'.

In the s and s the sacred and the evocation of myth made a comeback. Harald Szeemann asserts, 'No contemporary artist has so succeeded in dematerializing, transubstantiating, spiritualizing the content and expressiveness of line, colour and volume', adding, 'The painter standing in front of a large canvas felt like a pioneer in the desert; the energy of his inner vision was directly converted into the dynamics of pictorial genesis'.

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