LA STORIA DELL'ARCHITETTURA FRA CONOSCENZA E VALORIZZAZIONE. ESPERIENZE DI RICERCA A CONFRONTO (original) (raw)

IL COMPLESSO ARCHITETTONICO DELL'INCORONATA DI NARDÒ TRA STORIA E RESTAURO

Il complesso architettonico dell'Incoronata di Nardò tra storia e restauro, 2023

The cult of the Crowned Virgin has been active in Italy since the Middle Ages: in Puglia it was introduced first by the Angevins and then by the Aragonese. This contribution highlights the medieval iconography reaching up to the Neapolitan models and the missing fresco of the Church of Nardò, recently found only in the photographic archives of the Bari's Phototeca. This contribute answers to different questions about history of the church and the worksite.

IL RUOLO DELL’ARCHITETTURA NEI CONFRONTI DELLA SOCIETÀ. L’ATTUALITÀ DI GIANCARLO DE CARLO

The wide-ranging debate relating to the architect’s responsibility towards society has often been over-simplified by use of the term participation, resulting in the production of a tide of literature on the subject. De Carlo was one who supported participation, but the matter is not as simple as that. Numerous examples have been cited, mainly of residential architecture, some of which council housing, in which the architect interviewed the inhabitants. Several critics have commented that he used maieutic to convince people to support his projects; others claim that in reality it was only a pretext for propaganda and publicity. What is certain is that participation was a key word for De Carlo, who was an attentive anticipator of present-day issues. The intention of this work is to explain De Carlo's theoretic by means of the cultural context and editorial production, in order to arrive at an understanding that the object in discussion is not participation (which can be defined as a tool) but rather the role architecture can have with regard to society. This will be explained by means of a close examination of the most noteworthy events which took place at the end of the CIAM until the creation of Team X and from the tenth Triennial of Milan in 1954 with the Mostra dell’Urbanistica entitled “Cronache Italiane”, up to the seventh Biennial of Architecture in 2000, organized by Massimiliano Fuksas entitled “Città, Less Aesthetics, More Ethics”. A rapid survey, similar to a trailer, in which the real protagonists are always the same: space understood as architecture and society understood as the people who inhabit it.

OLTRE I CONFINI DELL'ARCHIVIO COLONIALE: FABULAZIONE CRITICA E STORIA POTENZIALE

Annali Museo storico italiano della guerra, n. 31, 2023

One of the main misunderstandings in relation to colonial history is that we think of trauma as something exclusively related to the past, as a memory of what happened. However, the time of memory is the present. Trauma is a problem because it expresses itself in the present, continuing to haunt it. This overlapping of temporalities is what particularly happens in museums today, when they try to come to terms with colonial trauma and its ghosts. The museum, a historical institution with a European matrix, born in the midst of the colonial era to fill the imagination of the nascent nations, constructs its object through the anything but innocent act of showing: a process based on the we-other opposition, which structures our entire modernity, and which today translates into a double, difficult legacy. On the one hand, colonial heritages (in their complexity), which often remain closed in repositories; on the other hand, the functioning, exhibition grammar and structures of the museum, still steeped in coloniality. How can this double coloniality in the museum be recognised, depowered, deactivated? How can colonial heritages interrogate us? How do they challenge the narratives we elaborate to tell us who we are? How do they critique our epistemologies? How do they move us out of our comfort zones? Is it possible to expose a wound? Is it possible to heal it in a museum? Starting from the specific case of a room in the Museo dell'uomo e della natura in Padua, which exhibits the facial casts of Lidio Cipriani, the essay questions the potential of the concepts of potential history (Azoulay) and critical fabulation (Hartman) in relation to the interpretation of colonial archives, and their re-mediation through contemporary arts, or their critical exhibition.

STRATIGRAFIA DELL’ARCHITETTURA TRA TRADIZIONE E INNOVAZIONE. ESEMPI E RIFLESSIONI

L'INTERVENTO SULLE SUPERFICI DEL COSTRUITO STORICO. QUALE INNOVAZIONE, 2023

Thinking about both the chances and the risks for architectural preservation in digital times, the authors try to verify how one can address the first ones and reduce the latter regarding tradition and innovation as complementary rather than as alternative approaches. Likewise in any field of contemporary life, for several decades technical development has been bringing a wider and deeper scope of knowledge in restoration, especially in terms of non-destructive testing (ndt) and virtual simulation, thus improving preservation. On the other hand, the faster and cheaper chances of enjoying a piece of work or a place through virtual reality are slowly but surely moving attention away from the matter, that is the physical testimony of any value/meaning preservation should be focussed on. Architectural stratigraphy is an interesting test-bed for checking, and possibly maintaning the sensitive balance between tangible and virtual in our relationship to the built Heritage.Stratgraphy is a traditional, well rooted field of study, at the same time a flexible and innovation-oriented instrument. The paper deals with the study of a stratified palimpsest where stratigraphy has been first traditionally performed and then improved by a realistic virtual model through Building Information Modeling (BIM), a digital copy which has been rigorousely developed with a high level of objective data allowing 3D exploration.