City and Design by Public Art & Public Space

CITY AND DESIGN

Title:

City and Design Authors:

Charlotte Cohen Darko Radović Roberto A. Cherubini Raffaele Paloscia Giovanni Ruffini Laura Bianchini Michelangelo Lupone Corrado Terzi Licia Galizia Giuseppe Marinelli De Marco Jean-Pierre Clarac Aleksandar Kujučev Dragana Ognjenović Goran Marković Branko Pavić Dragan Jelenković Editors:

Jelena Živković, Zoran Đukanović Authors of graphic concept and total design:

Predrag Jovanović, Isidora Marčetić 3

Publisher: For publisher: Reviewers: Print: Printing: Place and year of publishing:

Belgrade, 2013

CONTENT Jelena Živković, Zoran Đukanović From the Editor..................................................................................................00 Darko Radović Roberto A. Cherubini Raffaele Paloscia Giovanni Ruffini Charlotte Cohen Public Art and Planning.....................................................................................00 Laura Bianchini Listening Scenes New forms of the Art of Music..............................................................................00

Michelangelo Lupone Corrado Terzi Licia Galizia Giuseppe Marinelli De Marco Jean-Pierre Clarac Aleksandar Kujučev Dragana Ognjenović Goran Marković Branko Pavić Art Workshop GRAFFITI Home for Adults with Disabilities “Dr Dragisa Vitosevic”....................................00 Dragan Jelenković

e t t o l r a h C n e h o C

Public Art and Planning Lecture 2 for Catalogue

Belgrade, December 2008

Public art is everywhere and has surrounded us throughout the ages –(image 1 – Hindu temple) from the sculptures that grace the Hindu temples of India, to the Parthenon in ancient Greece, and the cathedrals of the Middle Ages in Europe, to the bronze sculptures of generals on horseback placed in city plazas, and the frescos of historic scenes in town halls. The contemporary parallels to these examples are in our parks, on our streets, and on the walls of our cities. Public art is part of everyday life – and we see it every day, even if we don’t always notice it or know that it is art. (image 2- stones)

I think that the definition of public art for us now, and the way

that it is integrated into urban design and planning – into making great public spaces - can be learned from places like India, where there wasn’t a question about whether or not artists should be part of the teams of architects and engineers that made those great buildings; or Rockefeller Center where public art was part of a holistic approach to civic design. These are places that people still want to be whether or not they can define what makes them so successful. (image 3 – Puppy at Rockefeller Center) 9

So how do we define public art in contemporary times? Is it simply an

artwork placed in a location that is frequented by many people, rather than being inside the walls of a museum? Is it artwork that is fully integrated into the design of a building, like on the Parthenon, and as was so commonly practiced in the Beaux-arts period? Can public art be a bench, a landscape, lighting, a floor, or some other functional design? Public art can be all of these things. I really think that we serve our cities best by being inclusive in the way that we define public art – it may well be a sculpture placed in a plaza, or seamlessly bound into a public setting, or architectural decoration. There are endless variations of public art in response to specific sites, the variety of materials, and styles that artists use. All of these ways of including public art in a city can be achieved very successfully. (image 4 - The Gates) Public art can also be temporary – invigorating civic spaces and providing the opportunity to see well-known places in different ways.

I am convinced that by including public art in civic planning projects,

we can expand our definition of what makes great public places. While public art can’t be responsible for solving the practical concerns that make cities work such as disposing of our garbage, it can transform the places where our garbage is dumped. For example, I have worked with an artist who is helping to redesign the biggest garbage dump in the world. Public art can’t engineer 10

a bridge, but I worked with an artist to provide beautiful lighting designs for a bridge that is located in a zone between a residential and an industrial neighborhood, thus helping to physically and psychically bridge that divide. Public art can help bring meaning to a site by reminding us of its history and context, and by contributing to “placemaking” – a term that may be useful, as we try to figure out how to make sites special and well-used by the public.

Planning for pubic art

In order for art to contribute to a city’s development, it is important to plan for it in the same way that we create master plans for cities and neighborhoods, the way we design parks, and the way that we think about including other public amenities such as distinctive sidewalks or special lighting in our cities. In order to invigorate cities through public art, we must consider it as part of this larger context of planning and design. It is by dedicating public and private funds and by making sure that art is part of civic design projects – from child care centers, to transit systems, to multi-year master plans – that it can have a real impact, and once again, be part of the natural growth and form of the city.

How the programs work

While in the private sector single individuals make decisions about how to include art in their development projects, when public funds are used, there must be a fair and open process that follows certain regulations and procedures. In many government funded public art programs, a percentage, usually one percent, of the construction budgets of new buildings and civic works projects, is allocated for art. In fact, in the United States there are approximately 350 government funded permanent public art programs operating on the municipal and state levels that commission artwork. These programs have procedures for selecting artists and their designs. Arts administrators work with the users of the site in which the art will be placed, and collaborate with teams of architects, and engineers, and community members. We have close relationships with our colleagues at the agencies sponsoring the projects, including departments of education, libraries, parks, planning, and even the sanitation and fire departments. In these municipal programs, public art is placed in subway stations, libraries, schools, and on the streets â&#x20AC;&#x201C; the places that people go to or pass by every day â&#x20AC;&#x201C; and it impacts our built environment by bringing art out of museums and galleries and making it accessible to everyone. (Image 5- Call Box) In these ways, public art can support and reflect the identity of a 12

place, as a kind of community anchor, and in a citywide way, as an expression of how a city sees itself – as a branding mechanism.

Categories of public art

Public art has been used as a valuable tool in the effort to make federal government buildings in the United States more user-friendly, in response to the cold modernist architecture of the 1960s and 70’s. However, the buildings and art are meant to communicate certain ideals of democracy and patriotism to the citizenry of the United States – be they grand courthouses or border stations along the U.S. border with Mexico and Canada. In the case of the new border stations, the art and architecture send a dual message that is in conceptual tension – while we welcome you to the United States, we will do whatever is necessary to protect our territory and people. This is not an easy design problem to solve; yet the government has engaged some of the best artists and architects working today to address it. Public art can be categorized in many different ways such as by type, materials, themes, etc. While the typologies are somewhat useful for organizing and thinking about potential projects, many works of public art overlap various classifications.

Public art that provides place making or place marking may include themes that reference history, expressions of neighborhoods or culture, and of community. These works are often in response to a site and place by an artist. In the work Mnemonics at Stuyvesant High School in New York City, artists Kristin Jones and Anrew Ginzel created installations in four hundred glass blocks that are imbedded in the walls throughout the entire school. A portion of the blocks contains memorabilia that relates to each of the eighty-seven classes that graduated before the school moved into its new building. Another eight-eighty blocks were left empty for future graduating classes to create their own installations; the balance of the bocks contain cultural memorabilia from around the world. The project consists of references to the history of the community and the place, and becomes a memorial as well as a participatory project that is also part of the walls of the building. Artist Janet Zweig involved herself in the culture of a high school in the Bronx in New York City to help students express themselves; she invited the students to write their responses to words that appear on the old fashioned bronze mailboxes she hung in the lobby of their school. Each of the twelve boxes was labeled with a word WISHES, SUGGESTIONS, FEARS, DREAMS, COMPLAINTS, SECRETS, FANTASIES, WORRIES, OBSESSIONS, PROBLEMS, IDEAS, and 14

OPINIONS, and she gave the school a computer in order to print the letters in a newsletter and create a dialogue in the school community. The project depends on the schoolâ&#x20AC;&#x2122;s principal to allow the newsletter to be published, as well as on the students, to see the project through to completion.

The integration of art and architecture includes functional works, collaborations with architects, and infrastructure projects.

At a public library, the artist Sheila de Bretteville researched the titles of search stories from around the world related to the language groups served by the library by reaching out to residents in the neighborhood in order for them to contribute their stories. The titles are carved into the front steps of the library in both the language of origin and in English. This artwork is also marking a place and paying tribute to the cultural past, which lives on through its literature.

(image 6 â&#x20AC;&#x201C; Wexlers) Allan and Ellen Wexler created a set of two stainless steel tables located in Hudson River Park. One has thirteen chairs extended up to become 15

columns that support a sixteen square foot plane seven feet off the ground. The second has identically placed chairs that support a sixteen square foot plane 30 inches off the ground. One element functions as a shade pavilion, the other a community table. Seats face one another forcing the engagement of the users.

(image 7 â&#x20AC;&#x201C; garage) In Reykjavik, Iceland Kristinn E. Hrafnsson has designed a parking garage that utilizes materials found in the ship building tradition of the country, and has provided an extremely high level of craftsmanship for each element at the site, which elevates it above what is generally found or expected at such an ordinary type of facility. Not only does the garage function well, but it is landscaped with trees and light-wells that bring light down to the lower level, which is extremely important in a place that is typically devoid of natural light, both because of the typical garage design, and Icelandâ&#x20AC;&#x2122;s lack of light during the winter months.

The power of hand made objects can play an important role in public art because the introduction of this type of work in the built environment can turn an institutional space into some place special and appealing to the public who use it. 16

Ann Agee’s hand-painted porcelain ceramic tiles include images based on her observations of students in a middle school – their clothes, styles, postures, and gestures. She captured their day-to-day activities and lavished them with extraordinary color, vibrancy, and detailed decorative embellishments. The cinder block construction of the walls and a clock hung in the middle of her ceramic mural indicate the level of design a typical school building would achieve without the inclusion of the artist’s work.

The hand blown glass sculptures suspended from the ceiling in a hospital by Arlan Huang add color, carry light, and are exquisite objects that activate the public space. Located above the escalator in the main lobby of the building, they are fragile yet substantial in their presence.

Urban planning and large infrastructure and environmental projects are another category of public art. For these kinds of projects, it is imperative that artists are included as early in the design process as possible so that they can establish a relationship with the architects, planners, and project team which provides them with the opportunity to contribute their creativity and expertise in the most effective and efficient ways possible. These projects blur the boundaries between sculpture, ecology, architec17

ture, and theater, and tell stories about the social and in some cases, ecological processes present at the site. They enhance systems, reveal the dynamics of processes, awaken the senses, tap into imaginations, and create a sense of place.

(image 8- Pinto) At the Ft. Lauderdale/Hollywood International Airport Garage artist Jody Pinto has designed Light Cylinders, four fiberglass cylinders that rise through all floors of the building. These vertical events of light and movement are lanterns of various colors that help travelers transition from the garage to the airport terminal. With this minimal intervention the artist has completely transformed how the public experiences the space.

At the East Division Reclamation Plant in Renton, Washington, Lorna Jordan designed Waterworks Gardens, an environmental artwork that naturally treats stormwater, enhances an on-site wetland, provides garden rooms, and creates eight acres of new open space for public use. The stormwater treatment ponds and the wetland form an earth/water sculpture, which funnels, captures, and releases water. The place invites people to observe the natural processes of water purification while connecting them to the cycles and 18

mysteries of water. Using plant material, stone, mosaic, and other materials, she has designed the pathways, seating, landscaping, overlooks, and environments to create a theatrical experience for visitors.

The artists Michael Singer and Linnea Glatt were hired to provide the architectural concept design for a recycling center in Phoenix, Arizona (a 25 acre, 100,000 square foot facility). They designed the site plan, landscape, architecture and structure, and formed a design team with engineers and architects. The design invites public involvement and education about recycling and waste issues in an infrastructure facility that would normally be closed to the public. These kinds of facilities typically attempt to hide the process from the public and conceal the facility, while this project reveals the process of recycling. This project could not have been accomplished without the leadership of the Phoenix director of public works, an aspect of any large scale complex project that is key to developing a plan.

(Image 9 - construction wall mural) Temporary public art allows for many possibilities in terms of the use of media, the messages conveyed, the locations selected, and the approaches utilized. It is often stated that the benefit of a temporary project is that 19

if people like it, the they are left wanting more art and supportive of the next project. And if they don’t like it, it’s not a problem because it won’t be there forever. Temporary public art can address urban design issues, like inventive murals painted on construction fences, for example. Temporary projects can include the participation of audience members, they can be performances, and they can provide us with ways to question the events occurring in our own time or in the past, as well as being great fun.

In closing, there’s no guarantee that public art will always be noticed or will remain uncontroversial, but many approaches to public art are possible and include a variety of materials, subject matter, types of projects, and the kinds of buildings and sites in which they exist. One interesting thing noticed by students at New York University when they observe public art in New York City, and survey viewers, is that even if people don’t like or notice the artwork, when asked how they would feel if it were taken away, they become alarmed that it might disappear, and defend its continued existence. This is certainly because it adds value to public space and helps create better places in the urban landscape. And this, of course, is our goal.

image 8- Pinto

image 4 - The Gates

Image 5- Call Box

Image 9 - construction wall mural

image 1 â&#x20AC;&#x201C; Hindu temple

image 3 – Puppy at Rockefeller Center

image 2- stones

image 6 – Wexlers

image 7 – garage

o k r Da viÄ&#x2021; o d a R AN ESSAYISTIC APPROACH TO THE URBAN the reflections on a method

The frameworks The first referential framework of this essay is defined by a number of thinkers and urban theorists. Listed in a random order they include Bogdan Bogdanovic, Martin Heidegger, Michel de Certeau, Henri Lefebvre, Guy Debord, Walter Benjamin, Jane Jacobs - with all the congruencies and dissimilarities of their thought (the gap being, on occasions, as wide as that between the Jesuit, de Certeau, and the Communist, Lefebvre). Fig. 1

The second framework which needs to be mentioned here is charted by places which have shaped, and are shaping my existence and which have chiselled out my comprehension of the urban. Listed in chronological order, are Mostar, the place where I was born; Split, the place where I have felt the layeredness of the urban; Belgrade, where I lived, loved, and where I witnessed how an established, cosmopolitan urbanity fell apart; Melbourne, which helped me confront the issues of cultural difference, both within my own self and within my new contexts; and Tokyo, the place of my current experi25

mentations with living the urban, the place where I cherish the extremes of cultural otherness. Fig. 2

Lastly, the third framework which I am aware of while thinking about the present topic, is that of my own recent work within the field. That work is demarcated by three books, Urbophilia (2007), Another Tokyo: places and practices of urban resistance (2008a), and eco-urbanity (2009), and two essays “World City Hypothesis Revisited: export and import of urbanity is a dangerous business” (in Jenks et al., 2008c) and “The greatness of Small” (2008b). The titles of those publications clearly outline my acquired and claimed knowledge(s) (Harraway, 1991) of, and about architecture and cities.

Those logoi and loci, words and places, texts and textures, are pivotal to my understanding of the urban.

The question The ideas derived from those three frameworks are employed here to address the question asked by Bogdan Bogdanovic in his opening lecture in Urbanology, sometime in autumn 1974, at the University of Belgrade. I remember Bogdan, in his oversized white jumper, storming into the theatre, turning 26

towards the blackboard and scribbling furiously, with chalk, in his elaborate handwriting, word city (in Serbo-Croatian language - grad). Many times, in large and small letters, in Roman alphabet and in Cyrillic. Then, he turned towards the class and reminded us how we use that single word to speak about the settlements as diverse as the ancient Troy and the New York ACity of today, about places of inconceivable difference. He asked, what makes us so sure that those places have enough in common, what is that what makes cities – cities. What is – city? Fig. 3

The keywords Urbanity - When it comes to urbanity, it may suffice to remind the reader that the term itself comes from the same source as urbane, and that they both refer to the Latin urbanus, “belonging to a city” and, more specifically, to a particular kind of behaviour, to the well-mannered attitude, to elegance which, originally (as Romans wanted to believe) was possible only within their Urbs. In Ancient Rome, to be homo urbanus was, therefore, about “having the manners of townspeople, courteous, refined” (Ramage, 1973) and belonging to a particular place.

Henri Lefebvre’s famous tripartite definition of the urban, in my opinion, 27

provides a potent tool for understanding of cities, old and new. First, he puts forward the proposition that city is “a projection of society on the ground ...”, adding how “what is inscribed and projected is not only a far order, a social whole, a mode of production, a general code, it is also time, or rather, times, rhythms” (Lefebvre, 1996). Then, Lefebvre continues towards ” another definition which perhaps does not destroy the first: the city is the ensemble of differences between cities” (in which, as much I enjoy the main message, I cherish a deliberate humility in front of the urban, that powerful perhaps). Finally, he adds “another definition, that of plurality, coexistence and simultaneity in the urban of patterns, ways of living urban life” (ibid.). That, third definition does not aim to conclude. It only spins the multiplicity of readings which invite diverse glimpses into and the experiences of an oeuvre, the totality with which Lefebvre himself was so passionately and productively fascinated.

Two additional snapshots into Henri Lefebvre’s thought add ingredients for a possible, composite definition of urbanity, and could help us navigate through our topic. First, his reminder that to think about the city is to hold and maintain its conflictual aspects: constraints and possibilities, peacefulness and violence, 28

meetings and solitude, gatherings and separation, the trivial and poetic, brutal functionalism and surprising improvisation (Lefebvre, 1996).

The conflictual. An emphasis which postpones judgment; a dialectical view of conflicts as being capable of generating both all the goodness, and all the ugliness which humankind can cause.

Second, Leferbvreâ&#x20AC;&#x2122;s powerful concept of the Right to the City, where the right to the oeuvre (participation) and appropriation (not to be confused with property but use value) was implied in the right to the city (Lefebvre, ibid.).

That concept alone has generated numerous, book-length responses, which are still trying to unravel the complexities of the Lefebvrian oeuvre (like in Harvey, 2003, 2008).

A critical issue for urbanity, for being urban and urbane is its exact spatio-temporal location.

Place - Since the times immemorial, locating the centre, the core of the city, its omphalos, was an urbogenetic ritual par-excellence (Bogdanovic, 1976; Rykwert, 1988). Here I refer only to the heavyweight in the field which defines the place-theory, Martin Heidegger, and remind how he attributed the ultimate existential importance to act of place-making (which coincides with the act of ubication) for our being (Vycinas, 1961). Heideggerâ&#x20AC;&#x2122;s favourite example of construction and architecture as place-making was the bridge: When a bridge is built, the place on the river becomes a place. Previously it has not been a place. It merely was one of the many spots along the river for a possible bridge. For a place to be a place a thing which takes place is necessary (Vycinas, 1961).

A human construct. A thing.

Transformation of the place into a precise locus is the process of impregnating the location with meaning. Mostar offers an archetypal case of Heideggerian connection between construction, being and belonging and, ultimately, urbanity. It is, in many ways, the city of the bridge. In SerboCroatian language, word most means bridge. The city of Mostar represents 30

one of those amazing situations of indigenous urbanity, the settlement which, from its earliest origins, was urban. Established by urban instincts and activities, it occupies the location at the Neretva River which has, probably, held some primordial urbogenetic potential. That proto-urban niche was waiting to be imbued with human contents, and to transcend generality. Fig. 4

Mostar, Split, Dubrovnik, Belgrade, are all defined by complex tensions between urbanities of the Mediterranean and those of the ancient limes. Their cultures stem from dialectics between their locations and specific moments of human activity. They all are informed by continuity, historicity and memory, by variously layered densities and intensities of action and meaning. Those cities are the palimpsests in which, and from which, I have learned to live the urban.

Those formative experiences are important in formation of an urbanist. What we read first, what we read first, what we visit first and, above and before all â&#x20AC;&#x201C; what we live first. The most important question in the process of formation of any urbanist is if he/she has first lived, and then learned, investigated and researched the urban; or, has he/she started with investi31

gations and learnings, before truly experiencing and fully living the city. Those sequences provide critical lasting inputs into the ways in which one is capable to approach the topic of urbanity.

The urbanities which have shaped my own, initial, intuitive comprehension of the urban, guided me seamlessly into a variety of European cultures. The most memorable encounters of that kind, which balanced the sense of difference with that of continuity, include my first visits to the places as diverse as Rome, Florence Venice, and Barcelona. My true departures into the previously unknown place-cultures begun, probably, with London. When I approached Melbourne, that was the first step towards radical difference. Bangkok, Beijing, Xiâ&#x20AC;&#x2122;an, Hanoi, Osaka, Tokyo followed, and they now count prominently among my acquired urbanities. Theirs were the cultures in which, for me, readings, thinking and conscious efforts to comprehend predated (but have not, and could not substitute) the lived.

Those are my acquired urbanities. They all offered some extraordinary experiences, and an amazing array of opportunities to learn about, and later to live within the Other. When, sixteen years ago, I moved as far from Europe as I could, the encounter with new urban cultures made me see (and, at first 32

masochistically, enjoy seeing) how my established, firm notions of urbanity, which were grounded in European experience, get questioned and how they fall apart.

Encounters with radical difference are culturally destabilising. They make some foreigners disregard the reality and chose to transport, and thus impose, their pre-established order of things onto those new places. That helps them stabilize the sense of their own self and to justify their own presence. I see that, even when exercised only within the microcosm of a single person, as a â&#x20AC;&#x153;colonial attitudeâ&#x20AC;? (Radovic, 2005). The other way of encountering difference is through immersion and appreciation of the newly found otherness. I chose that other path. I have learned that at my first encounter with the city which is commonly known as Bangkok, but whose full, real reads: Krungthep Mahanakorn Boworn Rattanakosin Mahintharayuttha Mahadilokpop Noparatratchathani Burirom Udomratchaniveymahasathan Amornpiman Avatransathit Sakkathattiay-avisnukarmprasit? Fig. 5

For me, that was the encounter with a tout autre, a fragile and precious moment after which only questions remain. As Franco Ferrarotti once declared, I also â&#x20AC;&#x153;decide that I prefer not to understand, rather than to colour and im33

prison the object of analysis with conceptions that are, in the final analysis, preconceptions” (Dale, 1986; Radovic, 2003).

That bring us to the core theme of this essay.

AnIn our approach urban investigations we rely on established practices and “properly” theorised principles, which we trust because they are confirmed by the long-standing implementation in urban research and practice of planning and design. Those frameworks, methods, practices, techniques are absolutely indispensible analytical tools. But, places like Krungthep Mahanakorn Boworn Rattanakosin Mahintharayuttha Mahadilokpop Noparatratchathani Burirom Udomratchaniveymahasathan Amornpiman Avatransathit Sakkathattiay-avisnukarmprasit question the relevance of our tools. They raise the issue of cultural relevance of our, usually narrowly “Western” and often colonial, established approaches to the urban.

While seeking legitimisation and credibility, urban research all too often pretends to be “scientific”, capable to identify and establish the unshakeable facts. Such efforts bring the risk of losing (an awareness of) the com34

plexity of the urban. The actual character of the urban gets easily confused with complexity of our own constructs, theories and modes of representation, self-indulgent operations that replace actual action.

When operating various intellectual tools of urban analysis, we have to remember that all of those which we decide to use, as well as those which we decide to disregard, are likely to be relevant. That is why we need additional approaches and techniques which complement (not replace!) our traditional methods and tools. Those approaches and techniques may be less “useful”, less efficient and less “accurate” than those that are commonly used, but their very presence in the process of thinking the urban is of tremendous importance. This position is, of course, not new, but it needs to be stressed that in the times of rampant globalisation the very need for difference, for alternatives, for diversity is more important than ever. John Low eloquently asked If much of the world is vague, diffuse or unspecific, slippery, emotional, ephemeral, elusive or indistinct, changes like a kaleidoscope, or doesn’t really have much of a pattern at all, then where does this leave social science? How might we catch some of the realities we are currently missing? Can we know them well? Should we know 35

them? Is ‘knowing’ the metaphor that we need? And if it isn’t, then how might we relate to them? (Low, 2004) He continued how we should even not want to legislate a particular suite of research methods. To do so would be to recommend an alternative set of blinkers. … This is the crucial point: what is important in the world including its structures is not simply technically complex. That is, events and processes are not simply complex in the sense that they are technically difficult to grasp (though this is certainly often the case). Rather, they are also complex because they necessarily exceed our capacity to know them. (ibid.)

Low’s conclusion was that the need, then, is for heterogeneity and variation. … And, as a part of this, it is about creating metaphors and images for what is impossible or barely possible, unthinkable or almost unthinkable. Slippery, indistinct, elusive, complex, diffuse, messy, textured, vague, unspecific, confused, disordered, emotional, painful, pleasurable, hopeful, horrific, lost, redeemed, visionary, angelic, demonic, mundane, intuitive, sliding and unpredictable ... (ibid.) 36

Low wrote about social sciences in general, and all that he recommends there makes perfect sense in urban research. In short, what is needed more than ever is the confidence to, sometimes, be less confident, to be less authoritative than the entrenched research and development cultures demand us to be. Sometimes we need the bravery of Lefebvreâ&#x20AC;&#x2122;s â&#x20AC;&#x201C; probably.

That is at the core of what I call essayistic approach to investigations of the urban.

Essayistic sensibility

To begin my elaboration of essayistic approach to investigations of the urban, I have to make one etymological clarification and change of the rhythm of this essay. I want it to dissolve into a more fragmented narrative. I want it to start stuttering, forming referential fields of ideas, where the gaps offer pauses open to an active involvement of the reader.

Therefore: exigere (Latin) = to test; ex (out) + agere (to weigh) exagium (Latin) = a weighing, weight essai (French) = trial, attempt, essay, an unpolished (writing)

Theodor W. Adorno, in The Essay as Form wrote how essay ‘does not begin with Adam and Eve’ (advice which this essay, alas, does not follow). The essay, Adorno says, is speculative investigation of specific, culturally determined objects’ intellectual, and ludic, freedom, a ‘childlike freedom that catches fire, without scruple, on what others have already done’ aesthetic autonomy, and its own conceptual character ‘spontaneity of subjective fantasy’ in the name of neutrality essay resists ‘departmental specialisation’ releases ‘the object’s expression in the unity of its elements’ acknowledges that there are ‘little acts of knowledge […] that […] cannot be caught in the net of science’ (Sheringham, 2006)

The key-words worth stressing here are: speculative freedom resistance little acts of knowledge that (what) cannot be captured by science

Adorno insists how essays refuse ‘airtight’ concepts and embrace the changing and the ephemeral. He argues that, while operating in an essayistic format, the thinker does not think, but rather transforms himself into an arena of intellectual experience, without simplifying it’ (ibid.).

That observation is extremely relevant for investigations in, and of the cultures which are coded differently from the culture of the researcher, in cities in which one can get gloriously lost, in those which can even render the researcher illiterate (that is what I like in Thai, Chinese, Japanese cities …). In Krungthep Mahanakorn Boworn Rattanakosin Mahintharayuttha Mahadilokpop Noparatratchathani Burirom Udomratchaniveymahasathan Amornpiman Avatransathit Sakkathattiay-avisnukarmprasit. 39

no thought intellectual experience without simplifying says Theodor Adorno, while seeking those little acts of knowledge. Fig. 6

The great Hungarian thinker of the Left, Georg LukĂĄcs, wrote that, for him, the essay is a court, but (unlike in the legal system) it is not the verdict that is important, that sets the standards and sets the precedents, but the process of examining and judgingâ&#x20AC;? (ibid.). a court a court, not the verdict the process the process of examining and judging, those same little acts of knowledge.

LukĂĄcs emphasises the simultaneous seriousness and lightness of essays. The culture in which knowledge is not the verdict, but the process, is the culture of tremendous intellectual generosity, one which allows ample space for the much-needed doubt, for that powerful, Lefebvrian probably.

The examples My own recent work focuses on everyday life, loc(alis)ation and smallness, as key points of resistance to the homogenising forces of globalisation (Radovic 2008a, 2009). Adorno usefully reminds us of “the essay’s ‘desire and pursuit of the whole’ echoes the way all thinking about the quotidien involves a sense of whole – not an abstract totality, but a lived manifold of interconnections” (ibid.)

experimental quasi-scientific in pursuit of the whole Then: everydayness quotidien everyday That is - life. Life as concrete, as ordinary, as uneventful as it gets. Life as real as it gets. As such, everydayness becomes the framework of everything that constitutes our existence, our full being in the world. The highs, and the lows. 41

And, let’s not overlook how Adorno here speaks about – desire! (desire in research?!) Even more provocatively, when speaking about essays and cities Georges Perec insisted on happiness: the links between the essay and the everyday connects the essay’s freedom with happiness, with criteria of well-being and imagined futurity (Sheringham, 2006). (happiness in research?!)

(Desire in research?! Happiness in research?! Being trained to expect and fake objectivity, we accept that pleasure and serious work do not mix. We accept that some of the most important constituents of life, such as desire and happiness, have to, that they can be left out!)

And futurity, that notion of the action-orientated thought!

Perec argues that essay rejects ‘the hostility to happiness of official thought’ which seals it off against anything new as well as against curiosity, the pleasure principle of thought.’ … In its constantly self-reflective and self42

relativising progress the essay co-ordinates rather than deduces … (ibid.)

self-reflective self-relativising another recognition of the need for Lefebvre’s probably. and another call for the abandonment of the neo-colonial self-confidence in encounters with the Other.

Proceeding ‘methodically unmethodically’, further provokes Perec, the essay becomes true in its progress, which drives it beyond itself, and not in a hoarding obsession with fundamentals (ibid.)

Fig. 7

Recognising, thus, the impossibility of an exhaustive knowledge, the essay’s experimental complexion revels in small variation. … Important here – and this parallels a deep-seated tendency in approaches to the quotidien (says Adorno) is the small-scale (those ‘little acts of knowledge’), the detail (‘the claim of the particular truth’), and the concrete, experimental stance of the essay small little detail particular concrete experimental

Somewhere else, Perec says beautifully: “Space is a doubt: I have endlessly to mark it out, to designate it; it’s never mine. I have to conquer it.” (Sheringham 2006)

He confirms the importance of an age-old “tool” - walking. Walking plays a key role in explorations of the quotidien, as an “activity at ground level geared to the aptitudes of the body, a practice 44

involving rhythm, repetition, non-accumulation, an activity that is concrete, open-ended, private as well as social, limited to the here and now but capable of embracing distant horizons (ibid.).

ground body rhythm activity open here now

All that adds up to liberating imagination and touch, to sensorial and sensual nuances of the urban. De Certeau said that â&#x20AC;&#x153;the city is the most immoderate of human textsâ&#x20AC;? (Highmore, 2005).

The snapshots My recent investigations overlay urbanity and sustainability and introduce the concept of eco-urbanity, where environmental and cultural merge 45

(Radovic, 2009). I am testing those ideas in the amazing city of Tokyo, about which Roland Barthes (1982) mused that it can be known only by an activity of an ethnographic kind: you must orient yourself in it not by book, by address, but by walking, by sight, by habit, by experience; here every discovery is intense and fragile, it can be repeated or recovered only by memory of the trace it has left in you: to visit a place for the first time is thereby to begin to write it: the address not being written, it must establish its own writing. Fig. 8

To point at least some nuances of that quality, this essay has to dissolve further, and become a photo-essay with captions.

rhythmanalysis, that famous window â&#x20AC;&#x153;From the window opening onto rue R. facing the famous P. Centre, there is no need to lean much to see into the distance .

Fig. 9

To the right, the palace-centre P., the Forum, up as far as the (central) Bank of France. To the left up as far as the Archives. Perpendicular to this direction, the Hôtel de Ville and, on the other side, the Arts et Métiers. The whole of Paris, ancient and modern, traditional and creative, active and lazy … (Lefebvre, 2004).

Lefebvre the city, and in particular the street superseded the domestic arena became a cardinal space of everyday life in its social aspects (Lefebvre, in Sheringham) Fig. 10

the street … represents everydayness in our social life. It is its almost total figuration. Like the everyday the street is endlessly changing and endlessly repetitive. (ibid.)

Because it is a ‘lieu de passage’, a place of change, interconnection, circulation, and communication, a fundamentally theatrical space, the street reflects the inner as well as the 47

outer aspects of the lives it links. As participants in the social text, our relation to the spectacle of the street is that of the ‘reader’ (Barthes and de Certeau will both develop the analogy with reading). (Sheringham, 2006) Fig. 11

confronted in this case with facial expressions, clothes, lifestyles, objects ‘spectacle’ of the street embraces multiple semiologies. Via the social text in which it enables us to participate, the street offers access to the multiplicity of the ‘champ sémantique’ ” (ibid.). Fig. 12

In cities, in urban research, we do what Alberto Manguel (2005) says for any other reading: “We read what we want to read, not what the author wrote”, adding that “maybe that is why we read … to find words that we already know.” Fig. 13

We shape, and we get shaped … Lefebre says how The ‘moment’ - always refers to an individual’s history it stands out in the midst of the ‘informe’ … intensity that stems from the tension between the desire for duration and the inevitability of termination … The moment is part of the fabric of everydayness, which it does not tear but tends to transform (partially and ‘momentarily’ …) the moment … does not come form the outside its frame: the moment is born in and of the everyday. But the moment does stem from the impulse to realise a possibility … (in Sheringham, 2006)

For Roland Barthes (1982), whole Japan was an inspiration to contemplate issues related to the art of living art de vivre fusion of the aesthetic, the ethical, and the hedonistic the scraps of ‘art de vivre’ I can grasp in passing

While reading haiku, he laughs at the initial Western desire to forcibly inject haiku with meaning, opposes the Japanese way of seeing haiku as a pratique destinée à arrêter le langage practice aimed at halting language … … breaking … … the inner recitation that constitutes our person … … working on the very root of meaning …

Donc, il se passe: rien. Ce rien, cependant, il faut le dire. Comment dire: rien? So, nothing happens. This nothing has, nonetheless, to be expressed. How can one express: nothing? Fig. 14 How can one express: nothing?

That is the key challenge confronted by all researchers of everyday (Sheringham) and thus, I would argue, by those who explore the miracle of urbanity. 50

***

On the road towards truly sustainable development, the quality and the character of everyday life, together with spatial expressions of ordinary activities are going to be the measure of success or failure.

Singapore, Melbourne, Tokyo 12.2008/3.2009

References

• Barthes, Roland (1982), Empire of Signs, New York: Hill and Wang • Bogdanovic, Bogdan (1976), Urbs i logos : ogledi iz simbologije grada, Niš: Gradina • Dale, Robert (1986), The Myth of Japanese Uniqueness: Oxford, University of Oxford • Harraway, Donna (1991), Simians, Cyborgs and Women: The Reinvention of Nature, New York: Routledge • Harvey, David (2006), “The Right to the City”, in Divided cities : the Oxford Amnesty lectures 2003 (ed. Richard Scholar), Oxford ; New York : Oxford University Press, 2006. • Harvey, David, “The Right to the City?” New Left Review, 9/10. 2008, London pp.23-40 • Highmore, Ben (2005), Michel de Certeau – Analysing Culture, London, New York: Continuum IPG • Lefebvre, Henri (1971), Everyday Life in the Modern World, London, Allen Lane Penguin Press • Lefebvre, Henri (2004), Rhythmanalysis, space, time and everyday life, London, New York: Continuum 52

• Lefebvre, Henri (1996), Writings on Cities, Cambridge, MA: Blackwell • Low John (2004), After Method, Mess in social science research, Albingdon, New York: Routledge • Manguel, Alberto (2005), A Reading Diary, Edinburgh, New York, Melbourne: CanonGate • Radovic, Darko (2008a) Another Tokyo, Tokyo: The University of Tokyo cSUR and ichii Shobou • Radovic, Darko (2003), “Celebrating the Difference – Design, Research and Education for Cultural Sustainability”, in BMB Symposium, (eds. R.King, O.Panin, C.Parin), Bangkok: Kasetsart University Press • Radovic, Darko (ed.), (2009), Eco-Urbanity – Towards The Well-Mannered Built Environments, Abingdon, New York: Routledge • Radovic, Darko (2008b), “The greatness of Small”, in 5th Great Asian Streets Symposium - Future Asian Space, A Public Forum of Asian Urban Design. Singapore: NUS, Deptartment of Architecture. • Radovic, Darko (2005), “Think about the soul of Bangkok! - fragments from an investigation into kwam pen muang, gradskost, urbanita, toshisei”, in Ra-Neang, 10th anniversary edition, Bangkok: Kasetsart University Press • Radovic, Darko, Djukanovic, Z. (2007), Urbophilia, Public Art Public Space, The University of Belgrade 53

• Radovic, Darko (2008c), “The World City Hypothesis Revisited: Export and import of urbanity is a dangerous business”, in World Cities and Urban Form, Jenks, M., Kozak, D., Takkanon, P. (eds), Abingdon, New York: Routledge • Ramage, Edwin (1973) Urbanitas: ancient sophistication and refinement, Norman: The University of Oklahoma Press • Rykwert, Joseph (1988); The idea of a town : the anthropology of urban form in Rome, Italy and the ancient world, Cambridge, Mass.: MIT Press • Sheringham, Michael (2006), Everyday Life, Theories and Practices from Surrealism to the Present, Oxford: Oxford University Press • Spengler, Oswald (c.1922), The decline of the west, London: Allen & Unwin, • Vycinas, Vincent (1961), Earth and Gods, an introduction to the philosophy of Martin Heidegger, Martinus Nijhoff, The Hague 1961

. A o t r e b o R rubini e h C 2 Dunes_2Miles

SIAA Landscaping the urban fabric C

for Va

javik

Reyk encia,

In order to connect to urban design the contemporary concept of sustainability, CSIAA is actually working on the idea of a Landscaped urban fabric, an environmental friendly settlement where all the elements, including heavy infrastructures, are shaped into the hybrid forms of an artificial built-up nature. Three recent projects different for position, geography, climate and aims, are showing the highline of this strategy.

Valencia. Project for the old harbour area after the Americaâ&#x20AC;&#x2122;s Cup (2007) Hosting Americaâ&#x20AC;&#x2122;s Cup brought significant changes to Valencia around the basin of its harbour. After the event, the city needs this sector to become a permanent attraction that will draw tourists and locals with the quality of what it offers and the identity of its architecture. The project also creates an urban continuity and a site topography that the 57

hagen

pen and Co

city has always lacked in that area. The strategic goal is to reconnect and enhance the areas located along the arc of the old port that have remained, for different reasons, isolated and disconnected. The project materially achieves its goal using a structure, hybrid for its nature and its scale, in between the dimension of the city and the dimension of the architecture. It is an artificial dune made of a natural skin wrapped on a built-up body. The dune connects the town with its harbour by means of a system of differentbalanced natural and built-up sites. The dune is set orthogonally on the waterfront and further on rotates and becomes parallel to the beach and the two marinas on both sides of the canal. This way the site gains a new material identity that highlights its exceptional features, and gives the urban profile a linear undulation that contrasts the original flatness of the city toward the sea. In this peculiar cityscape, that reflects the identity of a possible urban future, some of the Americaâ&#x20AC;&#x2122;s Cup team bases, selected with a popular consult, are moved from the harbourâ&#x20AC;&#x2122;s quay, and set in the natural surface of the dune. They will remain in memory of the event, used as containers for social, commercial and leisure activities, and dedicated to the whole population of Valencia. The hybrid architecture of an artificial dune - at some points a low hill 58

with a Mediterranean essence that houses parking lots in its inner core, and at other points an artificial structure, walkable on the cover, open toward the sea and holding spaces for public activities and buildings with special purposes- creates new connections between old buildings and new structures along the harbourâ&#x20AC;&#x2122;s waterfront of Valencia, after the Americaâ&#x20AC;&#x2122;s cup event. It offers new ways of using the quays, creates an acoustic barrier against the container port close by, and mitigates the climate, diverting the summer and winter prevailing winds. Along the coastline the dune is a complex element: from the beach toward the marinas it is an urban promenade with a natural background, it houses shipyards, commercial services and parking lots under the metal vaults of its artificial parts. The promenade also incorporates the system of pedestrian swing bridges that the project uses to cross the canal without interrupting the navigability of its waters. At its inner part, between the harbour and the centre of the city, the dune is split in two parts. It offers a system of public open spaces on the crest, and, in between its arms, it holds the architecture of an experimental housing settlement. It accommodates a young, dynamic, wealthy social class, expected in the city within the next decade. This settlement is inspired by new ways of balancing privacy and social life, house and job, sport, culture and entertainment. It is a low-rise housing settlement with many private 59

open spaces, combined with public spaces and taller translucent buildings with special purposes and a photovoltaic skin, crossed by a network of pedestrian suspended walkways connected to public transportation and the residential parking lots under the dune.

Reykjavik. Project for the dismissed airport area of Vatnsmyri (2007-2008) The city airport of Reykjavik is actually going to be dismissed. The area is of a strategic importance, located as it is in the centre of the town. Aim of the government is to establish in the site a contemporary settlement, mixed of housing, public buildings and spaces, green areas, able to express the capital identity of Reykjavik in the present century. In order to satisfy the proponentâ&#x20AC;&#x2122;s goals, the project adopts the following development strategy: Context. The capital identity of the town of Reykjavik will be supported by a linear Mile of open spaces, green houses, ponds and public buildings, running on the original site of Vatnsmyri airportâ&#x20AC;&#x2122;s main runaway and connecting the actual town centre with the coast and further on with the outer districts of the town, south of Skerjafjord. The entire new expansions from both west and east sides of the town are oriented on the linear Mile, leaded by a transversal system of directional, commercial and public buildings. 60

Ambience. The quantity of forest surface in Reykjavik urban area is planned to increase of 70% on its actual amount in the future 25 years along a eastwest belt from Oskjuhlid Hill towards Skerjafjord coast, crossing the Mile and re-connecting the residential districts of Skerjafjordur. The quantity of water surfaces is planned to be increased of 50% by a proposed new main water basin adjacent to the bird sanctuary, north-west of the Mileâ&#x20AC;&#x2122;s head, with addiction of the proposed ponds system along the Mile. A thermal and seaside is created in the Nautholvisk area, adding to the existing facilities a new large thermal and sea-water bathing basin and nautical sports outfits. Built mass. According with the tradition and the present townscape of Reykjavik, the building model generally proposed by the project in the Vatnsmyri area is a low rising building system with increasing densities in correspondence with the linear urban fabric of the Mile. The medium high of the proposed new settlements is 12 meters while the maximum high in the project is reached by the system of public and directional buildings transversal to the Mile, with a maximum high of 22 meters. The proposed new housing settlements are low density semi-detached and detached buildings of different typologies, mixed with four-five storey apartments buildings. Land / Building use. The Mile is composed by a complex of public sheltered 61

open spaces of different section adapted to the Icelandic climate. In some locations the public space assume the nature of a green / controlled-climate house, hosting trees and plants. The head of the public and commercial buildings transversal to the Mile is directly connected with the green houses, in order to accord a complete sheltered connection between the opposite sides of the Mile. Each green house is passed-through by the light tramway running along the Mile and hosts a tram stop on the line. Mobility. The Mile is a strong public connecting element between the central town and the outer districts. A light tramway is running along the Mile. In the Northern head of the Mile the tramway is proposed to be connected to the central town by an underground tunnel. In the Southern end of the Mile the tramway line is proposed to be integrated by a speed boat line connecting with the outer coastal districts of the town. A transversal roads system is proposed orthogonal to the Mile and under passing it, in order to connect on the east and west side of the town and the planned new expansions. Phasing. The urban fabric of the Mile and the Mile-oriented new settlements are a medium-long term building plan due to be phased in a period of 25 years, correspondent to the growing period of the natural elements proposed by the project. 62

The Mile architecture is able to be realized in different phases, according to the time, and it is able to be re-assembled after different delimitations, without losing its value of a temporary crystallization in a process of transformation. Phase1. Establishment of the new proposed forest area. Public mobility system along the Mile line with tramway and speed boat line. Connecting stations to universities, hospital and thermal development. Interregional transportation hub. Phase2. Directional transversal system to the Mile and connected housing. Sheltered public spaces and first green houses on the Mile. Housing settlements partially realized. Phase3. Completed development of the technological Campus of the University. Commercial transversal system to the Mile. Public spaces and green houses of the Mile completed. Housing settlements advanced. Phase4. Vatnsmyri project completed Public/Private spaces and Typologies The open spaces Mile are considered to be public, so as the general forest surfaces. The Mile urban fabric is a flowing circuit of built-up elements and spaces, formally and functionally connecting the interposed historical and new districts of Reykiavik, expressing the idea of an architecture of the complexity applied to the town. The Mile architecture is an inclusive pattern of different materials, origins and functions. The concept is in the whole and not in the single parts, 63

but the single parts are significant for the whole. The directional, cultural and commercial public buildings of the system transversal to the Mile are organized into a linear typology of horizontal towers, hosting public, multi-functional activities in high-accessible spaces. The architecture of the buildings is mostly transparent in order to assure a total visibility of the inner activity and to produce a urban enlightened landmark in the area during the winter time. The housing settlements are composed of a mixed living-working experimental typology flexible in use and expansion, suitable for young and dynamic incoming population attracted by an increasing offer of opportunities according to a sustainable, well balanced, art of working and living in the new central sector of the town. The settlement includes types of housing and working units different for size and functional assets. View / Identity The transversal system of public directional and cultural buildings, mostly transparent and enlightened, located into a linear pattern, will reproduce in the air general view of Reykjavik from the south, the punctual system of the airportâ&#x20AC;&#x2122;s light, as a memory of the past function of the Vatnsmyri area.

Copenhagen. Project for Nordhavnen (2008) Nordhavnen is the name of the Northern sector of the harbour district of Copenhagen, located front of the Swedish coast. The Danish capital town propose to transform the area into a contemporary, eco friendly settlement, inspired to a sustainable but vibrant style of life, connected to the centre but living of an original identity, shaped by a balanced urban and landscape fabric as well as by a strong building architecture. CSIAA project strategy consists in 4 main actions. Project action 1: Re- establishing the identity of a coastal landscape in the area, but looking to the original morphology of the maritime shores as an innovative instrument for a bioclimatic, environmental-friendly settlement and sustainable mobility. Action 1 is supported by a built-up coastal element called Nordhavnen Dune, an innovative instrument for a bioclimatic, environmental-friendly settlement and for sustainable mobility. The Nordhavnen Dune consists in a linear built-up sandy relief, perimetrically running around the area, open to the south and to the existing town, proposed in height, width and section in order to work as climate-mitigator, protecting against the dominant east and north-east winds, increasing 65

the effects of the solar radiation at the ground level, tempering the local humidity, and generally improving the bioclimatic qualities of the new settlement . The Nordhavnen Dune reports the memory of the original sandy landscape on the natural shores of the maritime lowlands of northern Europe. The Dune natural surface is planted of maritime bush. It is crossed by a net of transversal pedestrian walkways, in order to connect the park on both sides. The Nordhavnen Dune is dimensioned in order to host in its subsoil the light railway ring (main public mobility element of the project) and connected public open spaces, together with a local vehicular ring road and with the general amount of parking areas for both temporary and residential uses of the new settlement. Where the Dune has been interrupted, the railway and the vehicular ring are running through a cutting with wooden strings on both sides. The Nordhavnen Dune is organized on its surface in order to create a circuit of public spaces, pedestrian and bicycle paths connecting the existing town with the harbour front and with the old fishermenâ&#x20AC;&#x2122;s village of Fiskerihavnen, and offering along some outstanding view points on the cityscape of the new settlement. The top of the Dune hosts linear photovoltaic and wind plants . 66

The Nordhavnen Dune is running adjacent to all different sectors of the settlement and to most of the existing industrial buildings to be maintained, at the same time connecting or separating building and activities, in order to harmonize their requirements. Project action 2: Unifying the entire sequence of the southern harbour waterfront as a vibrant and dynamic place of centrality, by means of an integrated system of directional buildings and sheltered public open spaces. This integrated urban architecture has been named Harbour Mile, referring to the proposed sequence of central public spaces, hosted into green houses open to the waterfront in the summer, served by the light tramway line and connected to the inland by a transversal system of multifunctional buildings (horizontal towers) dedicated to directional, culture, art, knowledge and research, leisure, entertainment, commerce and community facilities. The sequence of green houses of the Harbour Mile and the immediately surrounding open areas represent more than the 40% amount of proposed public urban spaces, being a further 20% contained as indoor pubic space into the multifunctional horizontal towers. The sequence of the Harbour Mile includes the future cruise terminal. The continuity of the sequence across the harbour basins of the area (including the basins still open for navigation) is provided by pedestrian revolving bridges 67

Each green house is a two storey hall with frequent connections between the two levels. The light railway ring line is directly connected to the lower level of the hall, furnished with facilities such as info points, shops, cafes. The Harbour Mile side of the horizontal towers approaching the green houses is directly a part of the hall, mostly opened to the public space. The architectonical identity of the green houses is oriented on the light, transparent idea of a crystal building, able to assure a strong sense of sociality also in the winter climate without loosing a direct visual connection with the outside. In order to assure the sustainability of the green houses, their envelopes are intended to be studied as a complex system of glass panels and wooden screens, due to be opened and oriented after a microclimatic indoor and outdoor control. The green houses are furnished by indoor vegetation and named by the proposed essences, inspired to the gardens of southern countries. The Harbour Mile is fully accessible by light railway through 3 different stations . Private vehicular access to Harbour Mile is discouraged. Nevertheless a restricted number of parking places is provided under the Dune adjacent to the light railway stations. Vehicular transports to the Mile is admitted along the vehicular ring under the Dune. 68

Project action 3: A new contemporary habitat with experimental low-rise family housing, multi-storey buildings for assembled dwellings, common open spaces and local services, including floating houses, off-shore wind&solar units for zero-energy housing strings, multifunctional typologies, leisure indoor and outdoor sport facilities, horticultural areas. All low-rise family housing typologies of the contemporary habitat are intended to promote innovative relations between working and living, including forms of job sharing, home- and e-working. The low rise family typologies proposed in the project are 6, different for size and composition, including a typology of floating house to be used on the water of the dismissed harbour basins. All typologies are flexible for additional work and living spaces and fully compatible to be assembled, producing a large set of different combination. Density, scale and urban fabric of the low-rise housing sectors in the contemporary habitat are referring to the fishermenâ&#x20AC;&#x2122;s village of fiskerihavnen. The old village is fully integrated into the new settlement. The urban fabric of the contemporary habitat is proposed in height, width and section in order to maximise the winter solar radiation at the ground floor. Some low-rise sectors are assembled in experimental zero-energy housing 69

strings, adjacent to the dismissed harbour basins, furnished of off-shore wind & solar plant units. The peculiarity of the multi-storey buildings for assembled dwellings is the semi-public space included at each level, intended as an external addition to the dwellings in order to encourage social life. The multi-storey dwelling typologies proposed in the project are 4, with a large possibility of different combination and flexibility depending on the social assets of the incoming population. The multifunctional typologies are intended as activity-containers including public, semi-private and private spaces, able to adapt them to a strong flexibility, due to the quick evolution of the spaces for knowledgeoriented jobs and research, for e-commerce, leisure and entertainment, for art expression and culture. The project propose 8 different multifunctional typologies including the horizontal towers of the Harbour Mile, while the location is depending on the general asset of the settlement: Type A. 50% directional, knowledge, research) /30% commercial//20% indoor public space Type B. 40% directional/40% art & culture/ 10% leisure10% indoor public space 70

Type C. 60% commercial/10% entertainment/ 10% indoor public space Type D. 80% entertainment/ 20% indoor public space Type E. 80% art & culture/ 20% indoor public space Type F1. 50% community facilities/20% commercial/ 10% art&culture/20% indoor public space Type F2. 50% community facilities/30%commecial/20% indoor public space Type G. 80% officies / 20% indoor public space

The local mobility in the Contemporary Habitat is restricted to pedestrian and bicycle paths in the housing sectors. Access to single houses is exceptionally admitted and suitable on pedestrian paths for light transport vehicles in case of residents transports. The local public transport net includes a circular vicinity service running by electric busses on dedicated lanes and directed to the stations of the light railway ring. Adjacent to light railway stations in the Dune subsoil, a number of permanent parking places is provided for residents. Private vehicular access to horizontal towers is discouraged. Nevertheless a restricted number of parking places is provided under the Dune adjacent to the light railway stations. Vehicular transports to the horizontal towers is daily admitted along the vehicular ring under the Dune. 71

Project action 4: Integrating landscape and architecture, in an asset of elements, eloquent for a eco-friendly urban culture and style of life: the Eco-friendly Park The Eco-friendly Park of Nordhaven is extended in the north-east end of the new settlement, including the existing ponds area and the grounds reclaimed by filling in earth. The Park is divided in an outer area (Maritime Park), exposed to the northeastern maritime winds, planted as a forest, and an inner area (Inner Park), sheltered by the Dune, hosting grounds for horticulture, greeneries, a botanical garden and a zoological sanctuary. The planting of the Maritime Park is organized into a meander layout composed by outer belts of slow growing local essences (60% Birch and 40% Rowan) and inner belts of fast growing local essences (70%Willow and 30% Poplar). The planting of the different essences and the general design is phased in order to obtain a landscape quality of the area along the whole growth period of the trees.

www.csiaa.it 72

Raffaele Paloscia

Self-sustainable local development and territorial heritage in a globalised world

There has been a time in the past when the vision of a future post-urban world seemed to be prevailing among the researchers who studied urban phenomena. This was also based on expertsâ&#x20AC;&#x2122; forecasts. Thanks to information technology, and with the progressive de-materialisation of production and the removal of many of its constraints in terms of location, the city turned from a hub of functions and activities, and a vibrant centre of social life, to a virtual city with no definite localisation (Virilio, 2000). The current stage is better represented by a vivid and widely shared image, that is a set of increasingly strong global cities, arranged by different sub-sets (Sassen, 1997, 2006), linked among each other by advanced technologies. For some, this represented the illusion of a sort of spatial democracy which, in reality, hides strict hierarchies that control the planet, which is united mainly by a freedom of circulation of goods, capital and information which is unprecedented in the history of human kind. All urban entities of a certain size aspire to become an important part of 73

this whole, in a tight and resource-intensive competition. Locally, this often entails a break with a hinterland which is not considered as functional for new processes, and the fading away of the continuity and complexity of a territory which is very different from the one that is usually represented. One could say that the city has won because the old and proven mechanism of the agglomeration economies prevailed and, surprisingly, survived, by changing and innovating its internal components to adapt to current processes. Dispersion forecasts seem to be a thing of the past, when it is not for a rebalancing of the settlement density in space. A very large portion of manufacture has scattered in a now borderless world, and in a clear way in the case of large international corporations. However, the central functions of this very scattered production continue to be based in large cities, where they have gained strength. The city has therefore entered the new millennium still as a protagonist, although not in a level playing-field. The advantaged cities are only those that, due to their historical, economic, geographic, political, and cultural circumstances, already met the necessary conditions to turn into engines of globalisation, in many cases in the wake of their more or less recent history. The other cities fiercely compete with them at a global level with pur74

pose-built urban policies and huge funds, which are used to create physical structures that are deemed appropriate to attract those who hold the capitals and are in charge of high-level services. These structures are turned into spectacular, pretentious and huge architectural works (Lehrer, 2004), which characterise the â&#x20AC;&#x153;generic cityâ&#x20AC;?, deprived of any identity and not belonging to any context (Koolhaas, 2006; Perulli, 2007). On the other hand, welfare costs are gradually reduced, as well as all those legal constraints that guarantee collective welfare. The gradual selection of the parties involved lowers the standard of living of larger segments of the population. Therefore, the global city is not a uniform expression of the urban community. Only a few social classes benefit from this new situation. For a large part of the population, the existing deep contradictions become worse, especially in large cities of the western world: increasing numbers of homeless roaming inhospitable streets, an increasing percentage of the population living below the poverty line, increasingly worsening environmental conditions, and a constantly high level of violence and widespread uncertainty. If we then move to the cities of the majority of the southern countries in the world, it is well known that, with the exception of a minority elite, the population constantly lives at the limit of physical survival (Davis, 2006). 75

The reaction to these macro processes is the possibility of a different kind of globalisation, one that is neither relentlessly competitive nor standardising, but that embraces the world’s complexity, its different cultures, traditions, and ways of life, which should be consolidated and valued not in hierarchical structures but in networked urban communities that support each other. Urban and extra-urban planning policies must express the refusal to be just a business centre, a market, a shop-window or a museum, in order to enable the city and its surrounding area to keep their numerous live and vibrant features and their strong identity, and to guarantee the population’s wellbeing.

Teritory and heritage Research on alternative options was carried out by Lapei (which stands for “Laboratorio di Progettazione ecologica degli insediamenti” – laboratory for the ecologically correct planning of settlements) and, more recently, by two of its departments (LaRIST, Laboratorio di Rappresentazione identitaria e statutaria del territorio – laboratory for the identity and statutory representation of the environment; LabPSM, Laboratorio Città e territorio nei paesi del Sud del mondo – Laboratory City and Territory in the world’s 76

southern countries) from the Department of town and regional planning of the University of Florence1. Fig. 1

The starting point consists of the basic concepts of the theoretical/methodological approach, which is defined as “territorialist”; an integrated approach towards urban and territorial requalification which is based on those closely linked and inseparable priority options that define the selfsustainability of urban and territorial development. These options can be described as the willingness to: - enhance the capability and the tools for self-government and community participation in the study, planning and management of the city and the territory; - promote the development /safeguard, the enhancement and the sustainable use of ecosystems and the environmental quality in general; - contribute to a socially correct economy which is focussed on local resources; - consolidate the local cultural identity in an inclusive and fair way. Alberto Magnaghi, who is the co-ordinator of Lapei and of research carried out by the “territorialist” school (Magnaghi, 2001), together with the working group that he set up in recent years, starting from the creation of the university course of town and territorial planning in Empoli, fine-tuned the theory and methodology relating to the territorial heritage and set up technical and operational tools, including the Atlas of the territorial heritage, which was tested in Tuscany (MAGNAGHI, 2001; MAGNAGHI, 2005; LUCCHESI, 2005). Part of the following presentation is based on the results of this research. Raffaele Paloscia and the LabPSM researchers “exported” this method outside Europe, in particular in Latin America, where it is used for specific trainings and international projects for development cooperation (PALOSCIA ET AL., 2006; PALOSCIA-SPITONI, 2007; PALOSCIA (awaiting publishing). 1

The picture is that of a more widely shared and liveable city, of an territory that is projected into a self-sustainable future, re-establishing all the links between the urban context and the rural and non-rural hinterland, and strengthening its synergy and co-operation at a national and international level. The central role in this process is played by the local territorial heritage, which should be considered as the main collective resource to be studied carefully in order to better know it and share it, a resource that should be protected through urban regulation, that should be inspired by the â&#x20AC;&#x153;statutes of placesâ&#x20AC;?, that should be reproduced and increased without depriving it of its characteristics but through short, medium and long-term transformation projects. The territorial heritage is intended here in a very wide sense. It is the result of space and time, and of the convergence of the local and global know-how expressed by a specific city and a specific context: from the culture of work and production to the different types of landscape, local practices and ways of life, to the different physical, historical and architectonic components of the urban fabric, and so on. All these elements define the multi-faceted and ever-evolving culture and identity of a city and its territory, which are the main resource both for the general well-being of the communities that live there and, at the 78

same time, for a significant and well-defined presence at a global level, which is now a main feature. Therefore, the operational tools to use this resource in an appropriate way must be identified.

2 The Atlas of the territorial heritage One of the possible tools is the Atlas of the territorial heritage. This has been identified as a preliminary basis for knowledge and interpretation, which is necessary to turn these options into an overarching self-sustainable transformation project, and which should be turned into direct projects based on a deep knowledge of the context. It is the result, in operational terms, of a far-reaching innovative, theoretical and methodological analysis of the representation of the identity of the territory. A first test was carried out in Circondario Empolese Valdelsa, followed by other Italian localities and, at the same time, other countries, such as Nicaragua, Cuba and, recently, the Dominican Republic, in the context of co-operation projects. The main purpose of the Atlas is to set up a tool to communicate the identity and heritage of local contexts to the general public. This is done through graphic, text and multimedia tools, on the basis of techniques such as S.I.T./G.I.S.

Much of the following description of the Atlas is taken from the definitions of the research pro-

grammes carried out at the University of Florence and co-ordinated by Alberto Magnaghi, and, specifically, the national research programme called Efficacia della rappresentazione identitaria

degli spazi aperti nella pianificazione del territori (The efficacy of the identity representation of open spaces in territorial planning).

The objectives can be summarised as follows: - To explain the value of the heritage of a particular place in relation to new social practices, taking into account the whole area, and not just the buildings, public spaces and high-value areas; - To denote and represent the heritage values as a knowledge basis to fine-tune planning tools for self-sustainable local development; - To promote the use of the territory, also for tourism purposes, in full awareness of its many resources and historical, artistic and environmental qualities, and also its local culture (arts, industries, craftsmanship, wine and food, etc.); - To produce experimental, informative and highly interactive texts, for both educational/training and tourist purposes. This should enable to identify new environment-friendly activities that respect local cultures and generate income for the local population.

The Atlas is divided into three main sections:

1. The physical (territorial) heritage. This is a “warehouse” of shared values and rules that, in the long run, define the physical, morphological and typology identity of a specific place, and that can lead to a development which is based on the improvement of the heritage itself. The description links the specific aspects of the natural and cultural heritage (biotopes, wetlands, monuments, historic centres, building in rural areas, crops and high value areas, etc.) with their contexts: long-term urban and territorial structures, environment systems, landscape systems. In particular, a description should be given of the following:

- Environment systems: ecosystems and landscapes; - Urban and territory systems as a result of development processes; infrastructures – links and networks – historical lands, the different types and morphologies of open spaces and urban and rural buildings; - Historical, architectural and monumental heritage; the building materials and techniques specific to that place. 81

2. The social, economic and cultural heritage This identifies social and cultural collective structures that, thanks to their own identity, are a potential resource for the enhancement of the territorial heritage and the creation of peculiar â&#x20AC;&#x153;development stylesâ&#x20AC;?. It describes the social, cultural and productive features that enable to define the local territorial systems as sets of complex relations between a local social and cultural system and the specific identities of the territory.

3. The Heritage of new social practices It highlights projects, actions and policies where there is a particularly strong link between the established territorial heritage and the new actors of transformation, who can produce innovative local economies based on the reinterpretation of local resources available. The aspects that are specifically highlighted are the building of new communities, new relations in the multicultural space, new coexistence patterns, new living and production practices, and new behaviours for the care and enhancement of the territorial heritage.

Examples of Atlases Because of the limited space available, only a small selection of images taken from the many Atlases produced over the last few years is enclosed. Here, the used methodology is described, with reference, in particular, to what has been produced through international co-operation projects which have adopted the co-operation between areas3 approach. The two main pieces of work are the Atlases of the territorial heritage of Leon and Habana del Este, one of the 15 municipalities that make up Greater Havana.

The former is the main component of project La Toscana per León- Si Leon, which is co-financed by the Region and by a decentralised co-operation network. The Italian part was started in 2001 by a consortium made up of Tuscan NGOs Medina, which has co-ordination responsibilities, COSPE, and UCODEP, and by LAPEI, from the University of Florence. The Nicaraguan part is co-financed by a host of counterparts working in the Department of Leon. Fig. 2-6 3

This is meant as a process that drives targeted and fair interchange networks with the following

- to work through integrated and suitable projects from a social, cultural and environmental point of view, in order to meet urgent needs and trigger a process of self-sustainable innovation (PALOSCIA, 2006).

The Atlas, which, for this specific project, was called Atlas of cultural, artistic, environmental and social resources, was started in March 2003 by an Italian-Nicaraguan working group, which was set up for this purpose and which was later joined by other specialists. The Atlas was then completed at the end of 2004 for the municipality of Leon. In 2005, the assistance of a group of town planning undergraduates from the Department of Architecture of Florence was vital to carry out surveys and cartography reproductions of 3 additional municipalities in the Department of Leon. The second Atlas is an integral part of a development co-operation project called Habana-Ecopolis, Riqualificazione Urbana e Sviluppo Comunitario nella Provincia CittĂ dellâ&#x20AC;&#x2122;Avana (Habana-Ecopolis, urban requalification and community development in the Havana province). The project was initiated and managed by the Habana Ecopolis Consortium (Cospe, Cric, Legambiente, Lapei) and financed by the Foreign Ministry, with the active involvement of different bodies and authorities through decentralised co-operation. The University of Florence and the municipality of Follonica assisted the above-mentioned Consortium in drawing up the Atlas also with financial contributions. The demanding work of surveying the different parts of the Atlas began at the end of 2004 and was completed in 84

February 20074. Fig. 7-14 The Havana municipality that was chosen – La Habana del Este – is the most interesting one from an environmental and tourism point of view, as it hosts the capital’s long western coast with long and beautiful beaches where building activity is intensifying. For both Atlases, the work began by first arranging bibliographic, cartographic, photographic, digital and reference material, in order to carefully group into categories all the elements that make up the territorial heritage of the studied areas. Thereafter, research files were drawn up for the different categories of elements to be surveyed, and the territorial heritage was then indexed. During the last stage, the Atlas was produced both in paper and digital format. The latter is a user-friendly interactive tool which enables the Atlas to be continuously updated through the contributions of the population for whom it was intended. 3

This is meant as a process that drives targeted and fair interchange networks with the following

objectives: - to promote links between the cities and rural areas on the basis of a unified notion of the area; - to foster the population’s active engagement through a wide range of social actors belonging to sectors that are as diversified as possible in the two reference areas: the North and the South; - to work through integrated and suitable projects from a social, cultural and environmental point of view, in order to meet urgent needs and trigger a process of self-sustainable innovation (PALOSCIA, 2006). 4 The bulk of the survey and selection operations, as well as the material organisation, was carried out by Luca Spitoni, an architect and research scholarship holder of the town and territorial plan-

ning Department of Florence, who was assisted by the author of this paper for the project’s scientific co-ordination, and by a group of young Cuban researchers.

Bibliography

M. DAVIS, Il pianeta degli slum, Feltrinelli, Milano, 2006

R. KOOLHAAS, Junkspace. Per un ripensamento radicale dello spazio urbano, Quodlibet, Macerata, 2006

U. LEHRER, Reality or Image? Place selling at Potsdamer Platz, in R. PALOSCIA (ed.) The Contested Metropolis. Six Cities at the Beginning of the 21th Century, INURA, Birkhauser, Basel-Boston-Berlin, 2004

F. LUCCHESI, Rappresentare lâ&#x20AC;&#x2122;identitĂ dl territorio: gli Atlanti e le Carte del patrimonio, in A. MAGNAGHI (ed.), La rappresentazione identitaria del territorio. Atlanti, figure, codici, paradigmi per il progetto locale, Alinea, Firenze, 2005

A. MAGNAGHI , Il progetto locale, Bollati Boringhieri, Torino, 2001

A. MAGNAGHI (ed.), Rappresentare i luoghi. Metodi e tecniche, Alinea, Firenze, 2001 86

A. MAGNAGHI (2005), Il ritorno dei luoghi nel progetto, in A. MAGNAGHI (ed.), La rappresentazione identitaria …, op. cit.

R. PALOSCIA-G. COSTANTINI-P. MILANI-ET AL, Atlas del patrimonio local, material e inmaterial de la ciudad de Leòn, Nicaragua, Nuova grafica fiorentina, Firenze, 2006

R. PALOSCIA, I territori della cooperazione, in ibidem, 2006

R. PALOSCIA-L. SPITONI, Atlas del patrimonio territorial de La Habana del Este, La Habana, 2008

R. PALOSCIA, Cooperare per formare, formare per cooperare, Angeli, Milano (awaiting publishing)

P. PERULLI, La città: la società europea nello spazio globale, B. Mondatori, Milano, 2007

S. SASSKEN, La città nell’economia globale, Il Mulino, Bologna, 2007S. SASSKEN, Perché le città sono importanti, in R. BURDETT (ed.), Cities. Architecture and Society, catalogo della mostra “10ª Mostra internazionale di architettura. La Biennale di Venezia”, Marsilio, Venezia, 2006

P. VIRILIO, La bomba informatica, Cortina, Milano, 2000

Digital forecast

Giovann i Ruffini

Geographic information technologies for the visualization of possible landscapes

Introduction

The contribution refers to research begun in 2004 in collaboration between the LaRIST (Laboratory for the Identity and Statutory Representation of the Territory)1 working within the degree course for Territorial and Environmental Town and Country Planning at the University of Florence and the Empolese Valdelsa Administrative District. The research, entitled â&#x20AC;&#x2DC;Atlas of Territorial Heritageâ&#x20AC;&#x2122;, attempts to renew ways of describing and interpreting territorial resources and their transformation through the highlighting of enduring territorial identity, allowing a store of virtuous rules to emerge readable within the evolutionary dynamics of the relationship between the environment and settlement structures.

A new approach to the analysis, description and representation of the territory: the Territorialist Information System and the Atlas of Territorial Heritage of the Empolese Valdelsa Administrative District. The research has highlighted important changes, consolidated and on-go91

The LaRIST was established with the Department of Town and Country Planning at the University of

Florence in 2005

i i

ing, in the mosaic of the landscape, reconstructing the transformation that has taken place in the territorial context of the research, with the appropriate tools being implemented: the various analytical and descriptive materials have been organised into a “SIT”, Territorial Information System (Sistema Informativo Territorialista), where the themes inherent to the “territorial” dimension of planning are intertwined with reflection upon the construction of informative systems that are orientated towards the exaltation of patrimonial deposits and the elaboration of resulting photorealistic images. The LaRIST has been occupied for some time with the subject of editing the “Atlas” of territorial heritage, paying attention to the identity linked dimension of the local context. This work is based on innovative applications of geographical information technology and renew the construction procedures of territory description through the application of the complex intersection of formalised information layers. Territorialistic planning2, that characterises the work group’s approach, imposes as its first objective a different attention to the temporal dimension of knowledge of the territory, that has to be formalised through the establishment of diverse informative levels, so that the variations and 2

The adjective ‘territorialistic’ refers to the theoretical work by Alberto Magnaghi and a research

group for years employed in the definition of a new planning paradigm, based on the adknowledgement of the centrality of territorial identity in the definition of strategies and in development/transformation plans and projects; the ‘territorialist school’ – Magnaghi (2006)

persistancies in the transformation dynamics of the physical structure of local contexts can be shown and interpreted during the course of the various phases of the subject matterâ&#x20AC;&#x2122;s activity: from the construction of cognitive pictures to the determining of planning aims. A second objective concerns the centrality of the research and the setting out of statutory rules (that is to say founded on a shared social identification) that make fully sustainable, within a wide spectre of meaning, the choices made by governments and the transformation of the territory. Obviously, a â&#x20AC;&#x153;statutoryâ&#x20AC;? dimension to awareness entails maximisation when sharing information during the various stages of elaboration and at the more varied levels of communication ( in specific, making reference to both the so-called expert knowledge and to that more ordinary). The communication of elaborated material during the course of research in the disciplinary areas is an essential factor, and takes valid part in the process of mutual informative enrichment and of comparison with the inhabitant community, making effective feedback possible. The inter-related aspects that constitute the keystone to the evolution of the (Sistema Informativo Territoriale) SIT technical structures in the direction of the Territorialistic Information System (SITER), that is a technical apparatus that uses information technology not so much for the 93

management of territorial information as for the valorisation of information in function of the predisposition of sustainable settings, with a prospect that determines strategies of shared transformation because put together through the interaction with the inhabitant community, are essentially two. The first is the widening of the time dimension of the information archive: the diachronic component breaks into the structuring of single levels, vertically enriching the informative capacity (in valuating the dynamics of the metamorphosis o territorial organisation). The second is an attention to the forms of interaction between different disciplinary knowledge, and then between these kinds of knowledge and ‘common’ (ordinary) knowledge and the life experiences of the inhabitant community ( horizontal organisation of the information archive).The technical tool that has been singled out as the transmission connection between the informative system and the local community is the “Atlas of Heritage”, a collection of textual, graphic and cartographic material that is able to highlight the enduring territorial identity, that is the laying of virtuous rules that are readable in the evolutionary dynamics in the connections between the environment and the settlement structure. The Atlas, of Heritage developed in the early stages through dialogue between the various forms of technical knowledge organised in the SITER, is destined to leave the restricted group 94

of technical analysts and decision makers, in order to reach the many circuits of public communication and to be present in various publication forms: exhibitions, traditional publishing, electronic publishing, web3. Such circulation aims to create the action of active and interactive communication, through which the public process of the growth of consciousness can be developed relative to non negotiable identity values; to construct, therefore, a shared deposit of values, preliminary to decision making in every act of territorial transformation. (fig.1)

The Empolese-Valdelsa Administrative District Atlas of the Territorial heritage experience has been set up as an initiative with two essential aims. On one hand, build up a detailed knowledge of the territorial heritage and the ‘physical’ environment of the territory referred to trying out innovative methods of building up territorial information systems. On the other hand, build up cartographic representations that summarize all the elements that characterise the heritage; such representations are aimed at decision makers, inhabitants and ‘aware’ visitors to the administrative district. With these objectives in mind, the SITER has collected and integrated geographical and environmental information with information relative to the 95 3

Cfr. www.unifi.it/atlante

diachronic dynamics. The SITER has placed as one of its objectives, in this specific local context, the collection of information relative to the evolution dynamics of theterritory, aiming to recognise in the enduring forms of the agricultural landscape and from the settlement structure a fundamental examination of the sustain ability of anthropical organisation. Historic cartography on a large and small scale has been collected; photographic and aerial photographic documents useful for the reconstruction of variations in settlement and agricultural structures have been collected. Finally, the information accumulated has been transcribed in technical forms in order to guarantee an efficient comparison of historical data with that of the present. The objectives provided for in the elaboration of such material have therefore looked again, in the first place at the optimization of the usability conditions of the document in studies relative to the dynamics of persistence and of transformation of settlements and of signs of open territory, and in second place at an improvement to the possibility of public access to the document and to its meaning, to both the areas concerned with the technical structure of administration and with qualified professions as well as in the spheres frequented by political decision makers, by the inhabitant community and in general by the general public interested in the terri96

torial context within the described contexts (also for touristic purposes). In particular this objective has involved the construction of a consultation interface, capable of allowing a simple comparison between historic documents and recent aerial images, the purpose of which being to make evident and comprehensible the entity and the quality of the territorial and landscape transformations that have taken place. From the continuing research into the metamorphosis of the territorial and landscape context, a series of critical environmental situations have emerged. In particular, the impact of the large infrastructures; the apparent ‘casual’ nature of the recent industrial settlement; the fraying of urban margins and the break up of equilibrium in widespread settlement; the growing difficulty in tracking down valuable and coherent ‘landscape figures’ that allow to emerge the statutory rules that have controlled evolution for a long time; the ungoverned distortion of various agricultural and rural production. A comparison between the organisation distinguishable in 1954 aerial photography and that of today relates the submerging urban sprawl and the progressive specialisation of agricolture, that results in a heavy reduction in ecological connectivity and an extremely simplified landscape. (fig. 2)

These aspects, amongst others, have in specific made a crisis in the relation between the dynamics of ecological cycles and anthropic settlement choices (narrowing or caesura of ecological corridors, loss of biodiversity, difficulty in water management, inability to sustain agricultural production etc.) stand out, witnessed by the loss of quality in many of the landscapes that make up the E-V District. At the same time, the diachronic analysis witnessed by the Atlas of the Heritage and the identification of resistant structures in the landscape have brought to light the opportunity as well as the multiple and diverse potential to recover and enhance the District territory.

The Arno River Park Master Plan

An important planning outcome resulting from the Atlas is the biennial research applied to the planning of the River Park Master Plan in the lower part of the Arno valley, aimed at determining a shared setting for planning goals for the future River Park, objectivess upheld together with the provinces of Florence and Pisa as well as with the municipalities wthin the E-V District and with a galaxy of social forces ad local participants brought together by the â&#x20AC;&#x153;Associazione per lâ&#x20AC;&#x2122;Arnoâ&#x20AC;?. 98

Among the various local integrated plans of the area that enrich the Master Plan, an example of which is practical planning of great spatial depth (from the vast scale of the whole Administrative District to photorealistic details of a single tree) and temporal (comparison between the mid 50â&#x20AC;&#x2122;s - the present day and scenes of future transformation), is cited the hypothesis of the ecological requalification of the perifluvial rural land at the confluence of the two rivers.

The area introduced, a tract of the Arno between the mouth of the River Elsa and the Roffiaâ&#x20AC;&#x2122;s river basin to the west, will be the object of important intervention mitigating the risk of flooding , through the realisation of a system of retention cases , the main stretch of water will be converted to a rowing lake, with its relative infrastructure. Immediately to the east of the basin is an abandoned industrial plant, on the other side of which is a portion of the territory where the outline of traditional agriculture has been conserved, as far as the mouth of the Elsa river, which is still relatively rich in river bank vegetation. The redevelopment of the minor ecological network in this area, through a system of hedges, in linear form, bands of vegetation along the field borders and along the canals that have for centuries marked the agricultural makeup, 99

may turn out to be very efficient in terms of biological connectivity, lowering the impedance of the actual agricultural matrix and reconnecting the areas of hilly woodland to the north and south by the Arnoâ&#x20AC;&#x2122;s embankment corridor and by the new vegetation provided for by the work relative to the retention cases. Some forms of intervention have been identified that, apart from being functional from the ecological point of view, are beneficial to agricultural activity: linear hedges of interest for honey production and for fauna, hedges that aid the biological effort, hedges for the production of quality wood, double row multifunctional hedges, management of field edge areas, mixed tree planting for the production of wooden biomasses for energy production. (fig. 3) The representation was built with the aims of increasing its own communicative potential and has, in any case, been carried out using a formalised methodology, through the use of a realistic symbol system for the single species foreseen for theplanned hedges, in which each plant is associated with a single file in the relevant geographic database. From the agriculturalistâ&#x20AC;&#x2122;s point of view the realisation and maintenance costs of such a close weave plan and the difficulties relative to the reduced dimension of the plots of land, would encourage the cultivation not of wheat but of the more valued typical market garden products, biological or 100

medicinal. The idea of a kind of didactic-demonstrative garden/allotment has been thought up for the area, to be realised through grants, distinguished by strong landscape, cultural, production and ecological values. The abandoned industrial building, once destined for other public purposes, will be able to satisfy its own energy needs with systems fed by biomasses, the production of which would come from the woods and the linear hedges. One of the main topics of the research looked at the representation and the visualization of the landscape’s possible transformations, according to the adoption of alternative planning settings, created with two efficiency objectives: to supply an immediate support to planners and designers; create a common feeling among the inhabitants through forms of informed participation in shared planning. Results of the analysis of ecological connectivity, aimed at a public of specialists, have been mapped using techno-scientific methods of cartography. To exemplify possible redevelopment intervention of the agricultural plot, the technique of photorealistic perspective visualisation has been adopted, in this way illustrating in a ‘pictorial’ way (also using three-dimensional animation) the agro-fluvial park territory in its present state and according to the plan’s view for the future. (fig. 4) 101

The technology of territorial information, implementing techniques of visual communication, can result effective to the ends of widening the possibility of sharing the idea of the park with local actors without any scientific training. From farmers to municipality administrators and technicians, from cultural and sporting associations to the schools in the Empolese-Valdelsa Administration District, one of the primary aims of the research is to increase the inhabitants levels of awareness and knowledge in the prospect of greater involvement and participation by these residents in the planning process. (fig. 5)

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web: www.unifi.it/atlante

BIBLIOGRAFIA

CARTA Massimo, GIACOMOZZI Sara, RUFFINI Giovanni, Uno scenario di in-

dirizzi progettuali multisettoriali: il parco Fluviale della bassa valle dell’Arno, in Alberto MAGNAGHI (a cura di), Gli scenari strategici nella pianificazione identitaria del territorio, Alinea, Firenze 2007 , Collana I Luoghi

CARTA Massimo, Fabio LUCCHESI, Francesco MONACCI, RUFFINI Giovanni, Un osservatorio attivo sui cambiamenti del mosaico paesistico del Circondario empolese valdelsa in “Volontà, libertà e necessità nella creazione del

mosaico paesistico-culturale” Atti del XII convegno IPSAPA_IPSALEM, Udine 25-25 ottobre 2007 (Allegato al n. 18 di Architettura del Paesaggio, ed. Paysage)

MAGNAGHI Alberto, “A green core for the polycentric urban region of central

Tuscany and the Arno Master Plan”, Isocarp Rewiew, Settembre 2006 (2): 56-71

103

RUFFINI Giovanni, â&#x20AC;&#x153;Tecnologie di informazione territoriale nei paesi

emergenti: dal rischio di involuzione tecnocratica alla valorizzazione dei saperi localiâ&#x20AC;?, in Sviluppo autosostenibile tra saperi locali e saperi globali, la valorizzazione del capitale umano e del patrimonio territoriale. Atti del seminario internazionale progetto INTERLINKPLUS, Firenze, 22/26 maggio 2006, in stampa.

104

fig.1 â&#x20AC;&#x201C; Atlas of territorial heritage: web interface

105

fig. 2 - confrontation between aerial photographs 1954/2002 in the web interactive interface

fig. 3 - living tools for environmental design: 1.hedges for biological fight, 2.hedges for the production of quality wood, 3.linear hedges for honey production and for fauna , 4.double row multifunctional hedges, 5.hedges for the production of wooden biomasses for energy production, 6. ecological management of field edge areas

106

fig. 4 â&#x20AC;&#x201C; simulation of interventions of revitalization of the urban-rural front

107

fig. 5 - models of urban redevelopment intervention

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Giovann i Ruffini

Geographic Information Technologies in developing countries: from islands of privilege to local knowledge interface

The situation in which planners and administrators find themselves working will always be that of a â&#x20AC;&#x2DC;shared power worldâ&#x20AC;&#x2122;, that is the decision making process is worked by a multitude of actors in numerous forums, assem-

blies and public consultations. The use of public forums during the process of planning is an approach that is widely approved and favoured by countries in the southern hemisphere with activities upheld at international level, such as the Sustainable Cities Program, the Healthy Cities Program and many other smaller programs and projects, connected to urban development and the alleviation of urban poverty. More traditional approaches, concerning the need for the standardisation of data and requisite information for the planning and management of a city, are highly correlated to a functional view of these processes. They tend, moreover, to assume a more restricted and formal outlook in regards to the decision making process and to implementation functions sustained by the high capacity of collection and analysis of data. This is the technocratic plannerâ&#x20AC;&#x2122;s utopian view, perfectly informed, and committed to the analysis of objectives and the valuation of possible alternatives for higher 109

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levels of political management. Clearly, an informed decision making process is, in these circumstances, acknowledged as much as desirable, but the illusion of omniscience and allunderstanding have to be abandoned in a rapidly changing urban environment, such as that of the cities in the southern hemisphere: the continual and sudden changing processes, the spatial fragmentation and the diffusion and importance of the informal work as in living sector, the scarcity of data, make almost impossible even the recognition and definition of the city using the town planners traditional instruments. The growing emphasis on the current use of public forums favours processes of communication that seem effective in creating consensus and social commitment amongst inhabitants. This doesnâ&#x20AC;&#x2122;t mean however that more formal information and data sources are being replaced. An important element in public forums, in many countries, seems to be the varying level of knowledge and information available to the participants. A crucial role for town planners could therefore be that of guaranteeing all participants an equal access to the available information, in order to ensure that the final agreements are not spoilt by the difference in knowledge levels between the parts. This involves a particular effort in making understandable to everyone the complex concepts and relationships, as well 110

as effectively representing data and information in a relevant way that otherwise would remain unused or, worse, a patrimony of knowledge managed exclusively by a sole privileged part, to their own advantage. Effective results, in this sense, have been obtained from experiences that have made wide use of visual techniques of communication – enriched by the possibility of integration with the various sources of the GIT - in involving inhabitants in the decision making process and in the identifying, collection and organization of information considered relevant.

A risk to avoid: putting technology before inhabitants The experience and valuation of development projects that utilise territorial information technology often highlight the distance that separates inhabitants from the decision making process regarding management and development of the territory of their city; a distance sometimes increased by the application of GIT, that almost always remains a distant and incomprehensible entity for everyone, with the exception of a very small circle of technicians and decision makers. The role of the GIT as “an instrument for development” can result, therefore, in the “weakening” of the local society, generally involving a very low participation rate: the technocratic approach encourages the separation 111

of the town planning process from the inhabitants. To this we need to add that often the system’s planners tend to concentrate on the technological capacity of GIT, also to satisfy the requirements asked for by the projects foreign financial backers and international agencies, rather that on the development of a system appropriate to the human and territorial context, that should be both the object of the analysis and the beneficiary of the results.

GIS = «Islands of privilege»? If transferred to local community level, GIS application is difficult to manage and to repeat and highly dependant on extraneous capacity and equipment. Centres with an optimised use of GIS in the developing countries have been and still are fundamentally ‘islands of privilege’, as is often highlighted by many. Agenda 21 dedicates an entire chapter to the role and importance of information to sustainable development. Amongst the various recommendations put forward to harness the potential of Information and Communication Technology, the necessity to strengthen the capacity of traditional information is underlined, and that governments should ‘provide the local community and those who make use of the territorial resources the information and methods necessary for the management of their 112

environment and their resources in a sustainable way, applying, where appropriate, traditional and indigenous knowledge and approaches’. In this perspective of research, that is the intent to integrate scientific data with traditional environmental knowledges, to involve the local community in the decisions about the management of their territory, to avoid the transformation of the GIT into an instrument of social exclusion, two inerlinked participative processes are more and more developing, the Public Participatory GIS and the Participatory 3Dimensional Modelling1. (Fig. 1)

Asean Regional Center for Biodiversity Conservation

A bridge between GIS technocracy and local knowledge: Public Participatory Gis (PPGIS) and Participatory 3D modelling (P3Dm) Several elements distinguish the development of the PPGIS process • usually agency managed, but not top-down nor does it privilege the conventional knowledge of expert technicians • involves local knowledge, considered to be valuable and competent • widens the base access to spatial information data and digital technology • incorporates multiple outlooks on socially differentiated landscapes 1

113

An example of great interest is the application of these principles and strategies in the organisa-

tion of the National System of Protected Areas in the Philippines and other ASEAM countries, well described in RAMBALDI G., CALLOSA J., (2002)

• integrates GIS with other ways of communication • explores the potential of a more democratic process of town planning through a wider and more informed participation by the local community • represents a support to help minimise conflicts and to arrive at policies that are satisfactory to most of the local actors by means of ‘consensus building’ based on the awareness of the spatial implications of certain decisions.

The goals put forward, using PPGIS in the context of emerging countries, are typically those of sustaining local communities in the knowledge, management and conservation of natural resources, as a means of communication between the local community and regional authority, between traditional territorial knowledge (qualitative) and environmental and geomatic sciences (quantitative). The use of this methodology often comes from the fact that the technical performance of GIS, spatial accuracy and the quality of the output are all secondary, in order to achieve success in the process of sustainable development, to the necessity of a participatory approach. A further step ahead in integrating local knowledge with conventional geographic data is represented by the process called Participatory 3-Dimensional Modelling 114

(P3-DM), that is the working participation by the inhabitants themselves in a three dimensional scale model of the territory subject to analysis, as an instrument dedicated on one side to the environmental knowledge and effective management of resources, on the other as a means of communication between local communities and official authorities, the basis for a kind of â&#x20AC;&#x2DC;social pactâ&#x20AC;&#x2122;, that strengthens the identity of the inhabitant community. The greater part of the elaboration process can be managed at community level with a limited external support.

Connecting inhabitantâ&#x20AC;&#x2122;s local knowledge with GIS In order to use the 3D model for participative planning or to combine information levels from different sources, information has to be extracted and put into image form. In practice what is visualised in the model is transferred onto a sheet of transparent plastic with references to the grid, in the form of dots, lines and polygons, while the attributes are registered by means of an explanatory legend. Data is digitalised into the GIS, which integrates it with other official sources of territorial information so as to produce thematic maps in the required scale. Experience has shown that local knowledge integrated with conventional territorial information turns out not only to be more accurate but also more detailed and up to date 115

than that up produced in official circles2.

Mapping of a territorial patrimony’s non material resources: the example of the Atlas del Patrimonio Local material y in material de la Ciudad de Léon, Nicaragua As an applied example of integration of local knowledge in a techno-scientific tool for the analysis and management of the patrimony, with the use of geographic information technology, we report the experience of the ‘Atlas

del patrimonio local material e immaterial de la ciudad de Léon, Nicaragua’ (fig. 2). Realised within the sphere of the decentralised cooperation project Si-Leon, promoted by the consortium of local agencies, NGOs and university ‘Toscana for Léon’, and by the Nicaraguan counterparts, amongst which principally the Municipality of Léon, the Atlas represents a powerful instrument of knowledge and cataloguing of the territorial patrimony of Léon city. In this case it is interesting above all to underline the aims of representation of the local identity, the role of making clear the patrimonial value of places and as a powerful instrument to support the participative development of the city, throught the spread of knowledge and the strengthening of the citizens’ identification with their own territory. The methodological-operative approach used in the elaboration of the Atlas was aimed, 116 Cfr RAMBALDI G., CALLOSA J. (2001)

more than all the techno-scientific effectiveness, at the diffusion of knowledge, at the valorisation and inclusion of ‘local wisdom’ and at the collaboration between Italian and Nicaraguan workers , with an outlook towards understanding of the places and of evidence ‘hidden’ in the memory and in the customs of the Leonese population.

One of the most innovative elements of the Atlas is the cataloguing and the mapping of nonmaterial elements of the local territorial patrimony, the so-called ‘intangible patrimony’. A rich repertory has been built up, comprehensive not only of documentary sources and the biographical files of Léon’s artists and writers, but also a mapping of symbolic places, of memories, of sacred processions, of traditional feasts and dances, of myths and legends and other elements of the local culture, from music to local cooking, falling back on the population’s involvement by means of interviews and testimonies of varying types. In the process of elaborating the Atlas, the importance of using territorial information technology emerged, not only as a mapping and cataloguing tool, but above all as a way of integrating various sources of information (digital cartography, aerial photos, data banks, but also text documents, various images, film , audio) and as a powerful means of visual communication , managing to get around obstacles 117

and incomprehension as well as linguistic, cultural and educational barriers thanks to the possibility of representing territorial elements through a universal language, based on forms and colours, allowing intuitive understanding. (fig. 3)

Conclusion When discussing GIS systems in the context of Developing Countries, some questions appear spontaneously: Are the Geographic Information Systems appropriate technologies? Can they help the local communities to effectively and efficiently manage their local territory at the same time respecting and valorising traditional cultures? Remembering that â&#x20AC;&#x153;technology is neither good nor bad, but it is not neutralâ&#x20AC;?3, we can comment that, even though Geographic Information Technologies represent an important step towards the integration of data at various stages of analysis and from different epistemiologies, differing perceptions of nature and differing outlooks on the world, they cannot exempt researchers and administrators from the obligation to determine which social, economic and political factors influence the relation of man with the environment and how they can lead to a self-sustainable local development.

118 3

First Law of Fritz Krantzberg, from CASTELLS M. (1996)

Bibliografia

CASTELLS M., The rise of network society, Blackwell, Oxford, 1996

COSTANTINI G., MILANI P. (a cura di), Atlas del Patrimonio Local material e in

material de la ciudad de LĂŠon, Nicaragua, Recursos culturales, artisticos, ambientales, sociales, Medina, Firenze 2006 MALUZI, A.A. Development equals modernization minus dependency: a computer

equation in TAYLOR D.R.F., OBUDHO R.A. (a cura di), The Computer and Africa: Applications, problems and potential, Praeger Special Studies in International Economics and Development, 1975

PALOSCIA R. , The La Habana/Ecopolis Project. Urban Regeneration and Commu-

nity Development in INURA, Possible Urban Worlds, Birkhauser, Basel-BostonBerlin, 1998

PALOSCIA R. , Self-sustainability and Urban Regeneration: a project for Ciudad

de La Habana, Cuba, paper per la conferenza N-AERUS, Concepts and paradigms of urban management in the context of developing countries, Venezia, 1999. 119

RAMBALDI G., CALLOSA J. . Participatory 3D modelling: Bridging the Gap

between Communities and GIS Technology, Paper presented at the International Workshop “Participatory Technology Development and Local Knowledge for Sustainable Land Use in Southeast Asia”, Chiang Mai, Thailand, 2001

RAMBALDI G., CALLOSA J. Participatory 3-Dimensional Modelling: Guiding

Principles and Applications, ASEAN Regional Center for Biodiversity Conservation, Los Baňos, Philippines, 2002

MILANI P., RUFFINI G., L’Atlas del patrimonio local material e immaterial de

la ciudad de León nell’ambito del Progetto Quadro “SI/León”, in PALOSCIA R. (a cura di), Formare per cooperare, cooperare per formare: formazione,

ricerca e sperimentazione operativa con i paesi del Sud del Mondo, Franco Angeli, Milano (in corso di pubblicazione)

SLIUZAS R.V. (1999), Research issues for the adoption of Geographic Infor-

mation Technology for Urban Planning and Management in developing countries, paper per la conferenza N-AERUS, Concepts and paradigms of urban management in the context of developing countries, Venezia, Marzo 11-12. 120

fig. 3: Geographic information technologies as power-

ful tool for visual communication

121 Asean Regional Center for Biodiversity Conservation

Fig. 1: Participatory 3D modelling: Guiding lines and applications,

fig. 2: Atlas de la Ciudad de LĂŠon: mapping the immaterial resources of local heritage

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Laura Bianchini Listening Scenes

New forms of the Art of Music

CRM (Centro Ricerche Musicali), Rome

Seminar at Belgrade University - Faculty of Architecture December 2008

Abstract

Technological developments over the last few years have determined

significant changes in peopleâ&#x20AC;&#x2122;s way of life, in relationships and in forms of communication. In the field of music, technologies dedicated to the dynamic processing of audio signals have enabled the musician to handle accurately the individual parameters of sound. The composition and sophisticated control of sound, rendered intuitive by high-level software applications, have made possible an artistic and creative approach which has laid the basis for a rapid evolution of the language of music and of its associated applications. Among the lines of scientific research developed at CRM from the Nineties up to now, those which study the propagation and perception of sound have 123

acquired a focal importance. Control of sound diffusion sources in relation to the physical space within which the sources radiate and how the human perceptive system reacts to the stimuli of musical phenomena; these represent today the targets for knowledge and artistic expression. In particular, in-depth studies have been carried out on:

- Simulation of virtual acoustic spaces

- Acoustic correction and adaptation of architectural and natural spaces

Simulation of virtual acoustic spaces The development of hardware-software systems for sound synthesis and analysis in real time with powerful and innovative calculation architecture (Fly30) has made possible applications for physical modelling of resonant pipes and of environments of variable geometry, employed for simulation of virtual acoustic environments. An application of this research was made in the project of Radiofilm. The initiative, promoted by RAI Radiotre in 1994, involved composers and writers who worked together in a project on music theatre for radio broadcasts, as a privileged means for listening to music and, in general, as a means of communication. For the two authors who have worked at CRM, one of the most interesting features of the whole project, mainly as far as perceptive as124

pects are concerned, was the design of a â&#x20AC;&#x153;virtual scenic spaceâ&#x20AC;?. The idea was that of suggesting, through stereophonic listening only, an image of the story and dialogues setting, making all the sounds move inside this context. Each setting would change accordingly to the transformation and evolution of the sound materials. This approach was The idea was that of suggesting, through stereophonic listening only, an image of the story and dialogues setting, making all the sounds move inside this context. Each setting would change according to the transformation and evolution of the sound materials. This approach was developed in other radio productions and above all in live performances.

Acoustic correction and adaptation of architectural and natural spaces The inadequacy of architectural venues for music representation led us to design listening environments considering space in the same way as other sound parameters and with complex sound equipments set up, coherent with the concept of the musical works proposed. All those parameters considered important for correct fruition, have In fact been taken into account and in some cases, where necessary, also visual and sound aspects have been evidenced to achieve this purpose. 125

Consequently we have used: - many independent sound sources controlled by computer to create “virtual sound environments”; - “visual settings” that combine to describe the formal process of the works; - “Art and Functional Sound Installations” that combine plastic form and music in a

metalinguistic complex

The most relevant initiatives realized include Varesiana and Poème Electronique. The first is a work inspired by Varèse. The performance took place at the Ostiense Air Terminal in Rome, a building featuring many acoustic problems. In the designing of the listening space all the critical elements were used in a creative direction. The acoustic space was designed in order to obtain a diversified sound diffusion, according to the several musical interventions: i.e. the loudspeakers position, their number (12 independent channels), the power, height, trajectory and dynamics of sound movements have been carefully studied. One of the most complex experiences regarding the design of an acoustic space was the reconstruction of Poème Elecronique, by Varèse-Le Corbusier (Rome, 1999), which required the reconstruction of the Pavilion designed by 126

Le Corbusier for Philips on the occasion of the World Exhibition at Brussels in 1958. The project was presented again by CRM, with the collaboration of architect Casali, an expert on Le Corbusier’s work. The pavilion was reconstructed using theatrical techniques; curved panels were set up to delimitate the space while film sequences and lights (as shown in Le Corbusier’s score), were projected on the panels. For the virtual reconstruction of the Pavilion acoustic space five principles of sound diffusion were utilized: 1) localized diffusion, 2) reflected diffusion, 3) wide and limited frequency bands, 4) delay lines, 5) reverberation. Three different sound fields were placed in the Pavilion: loudspeakers on the ceiling were located iso as to obtain a sound energy concentration; loudspeakers along the walls and behind the walls, the last one coinciding with the video points projections. Fig 1 Poème electronique, plan of the pavilion Fig 1a Accademia Filarmonica, Rome 1999

Functional and Art Sound Installations Art Sound Installations, originally conceived in 1995 by Michelangelo Lupone as “Functional Installations”, are works which integrate the music with sound diffusion equipment and with the scenic and “listening” space. 127

These represent an innovation in contemporary musical language, since they vitalize a more general process of transformation of the musical work’s fruition and composition. Fruition of the musical work occurs through the combined experience of sound and environment; it makes use of the senses in a correlated way to stimulate – first instinctively, then actively and consciously – the participation of the listener who can then choose the most congenial condition for listening. The installations differ both in typology of irradiation and treatment of the sound and in the plastic forms and architectural surfaces involved. They are the artistic expression of some of the most important scientific research projects realized at CRM in the Nineties, i.e.: vibrational characteristics of the material (Planephones®), propagation of reflected waves (Holophones, Reflecting Screens), resonators and wave guides (Sound Pipes, Sound Guides).

Planephones® The term Planephone means ‘plane which transmits sound’. Planephones transmit sound uniformly to the entire surrounding space. The radiating surface can assume any sort of form and utilize different materials; these characteristics permit a sophisticated use of the space and rep128

resent a flexible instrument for coordinating the sound spatialization parameters under the control of a computerized system. Today, studies have been extended to cover the vibrational characteristics of various materials (wood, metal, plastic, paper, glass, earthenware) employed in realizing temporary and permanent Art Sound Installations maily in closed spaces, in artistic venues, museums, galleries. Fig. 2 â&#x20AC;&#x201C; Planephones, first presentation Acquario Romano 1998

Holophones A highly controllable multiphonic system of sound diffusion which enables creative modulations of propagation wave fronts. Holophones consist of a paraboloid system with a loudspeaker with a limited band width and controlled irradiation angle at the focus. Their characteristic is that the irradiation of sound is realized through a rectification of the truncated-cone propagation wave into a plane wave; this type of sound propagation permits the construction of radiation lobes of high coherence and capable of covering the space with minimal loss of power with respect to what occurs in diffusion with traditional loudspeakers. Dynamic controls for shaping the wave front are entrusted to a computerized system which has a single interface for controlling approach-withdrawal 129

processes, localization, speed, rising and lowering of the wave front with respect to the listener. Fig 3 Musica Scienza, Goethe Institut Rome 2005

Reflecting Screens Reflecting Screens utilize the principle of sound reflection. Fig. 4 Reflecting Screens, Wave Guides, Casina del Cardinal Bessarione 2006

Wave Guide technologies are adopted for Functional and Art Sound Installations. They are suitable for the construction of a â&#x20AC;&#x153;localâ&#x20AC;? sonority. The sound diffusion in fact is limited so that the sound space can be designed with precise and dialoguing interventions. The wave guides used in various installations are obtained with tubular pipes of cylindrical and conical geometry of various dimensions with a length proportional to the lowest frequency emitted. Control of the multichannel diffusion is carried out by computer.

Holophones, Reflecting Screens, Wave Guides are used in the realization of temporary Functional and Art Sound Installations in large spaces (pavilions, churches) and in the open air. Fig. 5 Glass variants, Farnesina, Rome 2007 130

Conclusions

Research and experimentation on “listening” space has been realized through forms that imply a different approach not only to fruition, but also to artistic creation. The relationship between creator and audience has changed: on the one side there is the necessity to create innovative expressive forms, on the other, the necessity to present fruition forms coherent to the proposed contents.

The conscious and active participation of the public brings into play the social system relationship, in part debased by the “saturation” mechanisms to which complex systems, and in particular communication systems either human or artificial, are liable, since “to choose” implies a “responsibility”.

The user is involved, with his action, in the work, its transformations, by choosing the means and forms of fruitions he finds more congenial. Under these conditions the space understood as a “sphere of extended fruition” has a fundamental role because it redefines the places of artistic representation.

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Urban, natural environment, artistic venues represent an extension of the traditional venues for music. Ordinary spaces are transformed into extraordinary scenarios where immaterial arts (like music and light) interact and combine with material ones (like sculpture and plastic forms) in a play of continuous transformation. Fig. 6 â&#x20AC;&#x201C; Immaterial Theatre, ArteScienza, Villa Borghese Rome 2008

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Fig 1a Accademia Filarmonica, Rome 1999 Fig 1 PoĂ¨me electronique, plan of the pavilion Villa Borghese Rome 2008

Farnesina, Rome 2007

Fig. 6 â&#x20AC;&#x201C; Immaterial Theatre, ArteScienza,

Fig. 5 Glass variants,

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first presentation Acquario Romano 1998 Fig. 2 â&#x20AC;&#x201C; Planephones,

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Casina del Cardinal Bessarione 2006

Goethe Institut Rome 2005

Fig. 4 Reflecting Screens, Wave Guides,

Fig 3 Musica Scienza,

Michelangelo Lupone

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o e

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o d a r Cor i z r e T BELGRADO

Abstract dic.2008

LIGHTING &

MEDIA IN

The night town. The way of life at our present time, from, requires that the social life go on over the sunset within the hours of the night. It claims a real “night town”. This phenomenon begins in the Sixties when the myths of the affluent society and of the sexual liberation won the Western countries and becomes a general worldwide since the Seventies. We are living in towns that after the sunset turn into virtual cities: the daylight’s people give way to the night’s people. Among the reasons behind this transformation we have to account of:

• the leisure night time activities, • the urban tourism, • the urban advertising and communication, • the lighting and multimedia new technologies,, • the pride of the citizens for their city. 137

BAN LANDSCA

PORARY UR THE CONTEM

The great vitality of the social life during the hours of the evening and night emphasizes the problem of â&#x20AC;&#x2DC;the construction of the identity of this night townâ&#x20AC;?: that is the original form of the urban environment at the night (not his

virtual image only but his different meaning).

In the case of cities where we have a relevant historical heritage, the problem is double because the form of the city at the night must respect the identity, morphology and meaning of the real city we experience in daylight. For all these reasons we have to change our way of thinking the urban lighting: from a simply technical point of view toward a holistic concept where technical aspects and cultural aspects are closely related.

Light and interpretation. Unlike daylight, artificial light and lighting are by their nature extremely selective. If we want, the lighting is a powerful tool to give a critical interpretation of the city and to highligt the hidden meaning of its architectural structures. 138

The artificial light is the most significant medium we have to spotlight the deep identity of a site and its symbolic values. Light as critical medium can reconstruct the lost power of suggestion of our urban heritage. Lighting also can make still intelligible the symbolic and aesthetic hierarchy among the urban components impossible to perceive during the day.

Lighting Urban Planning. The need to tackle orderly the problem of the urban lighting, requires that a Lighting Plan is made to avoid the wasteful practice of random solutions. In France a distinction is done between Lighting Master Plan (Plan Lumière) and Lighting Development Plan (SDAL - Schema Directeur d’Amenagement Lumière). The first, only deals with the improvement of the city’s image by the lighting of bridges, buildings, monuments and so on. This is the case of Lyon and Marseille. The second, is more technical and mainly takes into account security, orientation, safety and comfort. This type of Master Plan should combine lighting with other urban design elements to create a holistic and aesthetic environment. 139

Methodology. A Municipality which seriously want improve not only the image but the quality of the urban lighting should begin by the second, but, as it is long, difficult and with few quick concrete results, most of the cities have begun by developing the first. The Plan of Urban Lighting of Rome, developed by my office in 1996, attempts to synthesize both the type of Plan.

The General Master Plan of Urban Lighting, following the methodology used for the Plan of Rome consists of two parts :

â&#x20AC;˘ on the one hand first sets the rules and criteria for the street lighting which aims to assure the comfort and the security of people travelling on foot, on bike or by car; â&#x20AC;˘ on the other defines the rules and criteria for the architectural lighting of the city (gardens, buildings, bridges, elements of heritage) The Lighting Master Plans, as part of the general urban planning has to be consistent with the other Plans pertaining the various sectors of the Administration. 140

Of course the Lighting Master Plan, as part of the general urban planning has to be consistent with the other Plans pertaining the various sectors of the Administration.

The Urban Scene. If the Master Plans are essentials to give to the Municipality the tools to rule the process of urban lighting and define the intervention strategies over the medium term, the actual quality of the urban scene is entrusted to the final draft of architectural lighting at the executive scale.

It is at this scale that we can verify the ability of the lighting design to give an original shape and meaning to the urban space. On the other hand we see in the last years that the architectural lighting increasingly is leaning toward integration with multi-mediaâ&#x20AC;&#x2122;s languages and technologies. The challenge in coming years will therefore be to find the reasons for this collaboration in order to a new original artistic experience avoiding the banality of the entertainment.

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144

Licia Galizia

Part one: A concise presentation of the historic events of the 1900s and in particular of those characteristics that appeared during the years after the Second World War and that continued in the following decades, with particular reference to the introduction and development of a visual art that renews itself with the disruptive addition of phenomena related to: ENVIRONMENT – INSTALLATIONS – HAPPENING – PERFORMANCE, until arriving at PUBLIC ART.

This introduction is necessary to be able to appreciate the research work that I have been conducting for years and that has deep roots in these creative experiences of the 1900s.

ENVIRONMENT Literally: “ambientazione” (“environment-ation”) This technique was born from the futuristic and abstract decoration of environments, most of all by the expansion of the painting as integrated in 145

Merzbau by German Dadaist Kurt Schwitters and dall’Ambiente dei Proun by the Russian Constructionist El Lissitzkij. This practice was widely diffused in the period after the Second World War, with works that invite the visitor to step inside them and to live them from the inside. They often also contain sounds, words, and/or video or computer tracks.

INSTALLATIONS Three-dimensional works conceptualized for a specific context, of variable size according to the environment. The installations are a derivative of assemblage and environment, developed in a characteristic way from the 1970s onward.

HAPPENING Literally: “accadimento” (“event”)

Theorized by Allan Kaprow in the 1950s, it descends from futuristic

and Dadaistic gatherings that anticipated public participation. It deals with events for which the artist prearranges some variants, and which are then left to flow unscripted. The first “happening” took place during an event organized by John Cage at Black Mountain College in 1952; after 146

which, the “happening” became a particularly well-loved method by the international group Fluxus.

This practice, which inserts into the work the variable of time in ad-

dition to that of the expansion into space, has adopted many ideas from music, that is, from a creative discipline that has a greater relationship with time.

PERFORMANCE A practice which surfaced in the 1960s, the artist operates as an actor, putting himself or herself on display according to a prearranged script that does not anticipate, usually, participation by the public. It has been used by artists who work in the theme of corporeality, from Body art of the 1960s to the “post human” operations of the 1990s. The journey ends with the introduction of the concept of PUBLIC ART. In relation to the ever-increasing desire to not work for only a limited public, many artists have sought to not create works for museum interiors but rather for urban spaces, straining to understand what the public might accept but without sinking to the by now impossible form of the commemorative monument.

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Can a work of art still be used to better civil coexistence?

In defiance of questions of this kind, the phenomenon of PUBLIC ART is widely diffused and ever-increasing numbers of exhibitions are organized around the theme of the art-city relationship: of these, the most noteworthy and prestigious is Projecke Skulptur, which takes place every ten years in Münster, Germany. More generally, during the 1990s many artists sought to withdraw from the art gallery in order to give their works a relational character, that is, able to enter into a relationship with the public, disregarding the fact that they might be unwilling to recognize it as “art”. The objective is not to have an appreciation for aesthetic character, but rather for interaction with areas of coexistence.

148

Part two: Lecture on my works with a sequence of images of environmental installations from my first personal expositions beginning in the early 1990s to today.

In the first installations (1990/1992), the relationship between space and the wall surfaces of the exhibition environment is one of strong interconnection and interpenetration. The installations, rooted in the wall like

â&#x20AC;&#x153;una scultura ad affrescoâ&#x20AC;? (Fabio Mauri 1992), were created for the hosting space; the walls, like white pages, were marked by cuts and holes. This complex play of marks, resulting from a precise plan, created an anchorage system for the mobile elements. Each observer was invited to move the elements and to transform the work. Subsequently, the mark-crevice transforms into longer tracks that enter and exit the wall with natural fluidity, crossing or closing openings, rebuilding angles and paths. The interactive component is always present in the work and it remains constant until today. In 1998, with an installation created for the choreographer Lucia La Tour, I affronted the stage space of the theatre, and I created with the moving bodies of the dancers. A dynamic work was born, built jointly in the limited 149

time of the show. In 2002, with Paolo Marchettini, I attended to the joining of two forms: installation and musical. Various exhibition experiences have brought me to communicate with other expressive languages like the word. In these last years, on occasion for public gatherings, I have been asked to create installation projects for external environments (Parco della Memoria in San Giuliano and the nursery school in Torrino Sud, Rome / Fig. 1 and Fig. 2).

Among the latest projects created in the architectural sphere, worth highlighting is the installation presence on the bridges of the city of Vema for the Italian Pavilion at the Tenth Biennial of Architecture in Venice (Fig. 3).

To follow there will be projects for interiors, with the study of flooring and environments. The current collaboration with composer Michelangelo Lupone instead finds me busy creating works which integrate plastic elements with electronic music and are intended both for closed exhibition spaces and for large pieces in public areas.

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In the art sound installations created with Michelangelo Lupone (Fig. 4), the plastic experience becomes always more connected to the language of music and the relation with space and with the environment becomes ever more complex and articulated. The external environment and the vital flow that constantly crosses it directly and substantially influence the work which interacts and communicates with it.

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Fig. 1 Project for Parco della memoria, San Giovanni di Puglia, 2006/07 Architects: Romolo Tancredi, L. Vitale, Rome Project: Licia Galizia

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Fig. 2 Project for nursery school, 2007, Torrino sud, Rome Architects: Francesco Menegatti and Dina Nencini Installation: Licia Galizia

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Fig. 3 Project for Vema, 2006 Architects: Francesco Menegatti and Dina Nencini Installation: Licia Galizia

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Fig. 4 Blu armonico, 2008 project for Lâ&#x20AC;&#x2122;Aquila, Italy Michelangelo Lupone and Licia Galizia

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e p p e s u Gi nelli De M i r a M BELGRADE

26 11 2008 Faculty of Architecture

Conference “Industrial Design in the era of Complexity ” ISIA ROMA DESIGN

1 - Prospectic and a-prospectic society, the Complexity as project Even our history, as human being, shows continuosly to us how much our life is a large kaleidoscope of whole complexity, we can say that the “modality of production” roles and leads our capacity to sign and marks the human environment through the paths of History itself. Sure, and thankfully, it happens in a very complicated mix of colours and such different anthropological ways. Human knowledge and creativity all over the planet is able to make the difference and the beauty into the life. But is important don’t remove that the era of the social life are three, and generally speaking they are called as pre industrial – industrial - and post industrial frame, structure and scenarios. It’s strange and curios today such kind to talk but I fond difficult to think in our being in a different way. So we can see the addiction and sum of 157

o c r Ma

event in middle age era as Pre-Prospectic Age followed by the mental synthesis of the Renaissance pattern as Prospectic Age and the first appearance of the fluxus and movement or dynamism of the industrial and modern times as A-Prospectic Age. This one was opening the door to the complete spreading of the A-Prospectic space time experience in the postindustrial age due the digital civilisation, that we can consider as a new start time of, maybe uncertain but surely rolling on, future. The Informational Era is perfectly able to give all floor bottom and figures to the human experiences, specially seeing the evolution of the cities. The ISIA of Rome, born in 1973 as historical experimental design school of the state, since many years has set up a careful rework of the conceptual paradigms of the design, arriving to the definition, in the second graduate level, of â&#x20AC;&#x153;Design of the Systemsâ&#x20AC;?. This definition wants to deepen the sense of a constellation of meanings around the new geography of knowledge, technologies and creativity, in the contemporary society, the design attempts in particular way to the relational and systemic aspects in the human landscape, both material and immaterial. A careful reading of modernity, completed or incompleted, tell us how the culture of the design was born within a versatile laboratory, around a 158

shared project, of possible Community in the industrial era, the whose philosophy made by a multifaces metanarrative thought, also a lot divergent between them, but joined from final desire of this community. In spite of the wealth of this diversity, the Modernity in last analysis, has seen to emerge as dominant metanarrative the interpretative philosophy of the linear perspective, using its emblem the modular geometry and the numerical approach to the project. The relationship between subject and object, has lived many seasons from the reinassance, shifting the focus of the center of the draw to the static principle of the reinassance perspective, that it is also an explicit metaphor of the figure of the Prince assumed from Machiavelli. Therefore the principle of absolute objectivity and recognizability that alloy construction and rappresentation, and that include all the variety of the world in only one vanishing point. Starting from the Reform the birth of Capitalism, generating scientific and technical development, the equilibrium subject-object has shown much instability, especially during the XX century, until finding itself in the actual postindustrial society, in a globalized and informatic landscape that’s rebuilding around the requirements of the own human time-space experience. Everything brings us to think that the contemporary subject is shifting from a “perspective society” to an “a-perspective” society, that 159

redesigns around this new axis of the sense the presupposition of the social semiotic praxis of knowledge and languages. The contemporary postmodern condition, appears therefore like an infinite probability of “relational models” within an Hypertext scheme that, as in the observations of Z. Baumann, is lacking of final draw or a complete scene. The same Baumann annotates as the term postmodernity is in part inadequate, in the sense that modernity is read like indefinite process and perhaps also infinitely, replacing to that term with “liquid Modernity”. The eclipse of the perspective condition and its hegemony of four hundred years, coincides with emerging of the opposite condition that focuses on the subjectivity, the more important weight of the new metanarrations, operating an immense critical review of those project categories that, as an example, explained the architecture like phenomenology of the urban planning, and the design like phenomenology of the architecture. Therefore entire families of signs and meanings, of semiotic praxis and of methodologies, appear and disappear depending on the reading the equilibrium relation subject-object within the historical and social dynamism. The properties, than in the world of modernity were believed made part of the things, are in fact revealed to be property of the observer, the subjectivity has assumed today an enormous value. 160

2 - Difficult life for Contemporary Design without context and communities Altough worldwide project’s culture take care to avoid any Illuministic approach to the problems, focusing its efforts on more fluid subjects like the large kaleidoscope of “differences”, as matter of fact its emergent researches, shown in last prestigious international exhibitions (1), takes an evident responsibility closely deepen the scene of the maximum complexity like human environment and its Labyrintic levels. Cities, mega-cities or global-cities appear today as a true mirror of Global postindustrial complexity, never seen up to now. Human environment emerges on the top of the contemporary project’s agenda, as privileged workshop based on appearance and disappearance of entire families of needs and socio-dynamics behaviours, typologies or functions, therefore new concepts and new signs. The new labyrinth of space-time involves design not only as important catalyst of fluxus and processes lanced out in the collective representation or scenario, but also in the continuing interaction between material and non material culture. Is growing up a change of mental paradigm toward patterns truly near to the sciences of non linear systems. Another kind to say that the actual emergent philosophy of the project sees foreward a new 161

and deeper ecologic approach to the phenomena of life, nature and society. The human environment evolves, in its turn, in an impossible way to use more old categories of the linear thinking emerged in modern times, and set us in front of important revisions about perception and acknoledge of the today’s space-time experience and dimension, in such society made by liquid modernity (2). Finally Design have to challenge whith the change of the pre-condition of the human existence, using a different mind and passing by the assumptions of material era, who was talking about things, towards the intangible condition produced by relationship and processes, and set on the world’s table by technology and globalisation. In other words the future will be made overall by “languages”. This point of view doesn’t say how design of the future will be, but it say to us what will be its deal, and hardly suggest to us to quickly follow the change of mind’s paradigm and patterns to create new suitable praxis and protocols in this discipline. In the meantime we have to do a change of paradigm which fondamental point, its own topics of meta-narration aren’t, long ago, the numeric universe of the quantity. The tomorrow’s project will attend on the quality as effect of new kind of relations, doesn’t see at efficiency rather then the efficacy, it doesn’t will 162

reinvest no longer on the things rather on the relationship between things, producing an eclipse of the historical creative praxis and its traditional instruments. Even on the Narrative level the contemporary expression is looking long ago, beyond the product, moving up towards several challenges made by different nature, and if the project would undertake its own rightand-task to show itself at the morphologic level, should take whitout hesitation this change on mind. Whitout form there is not information, is vain to remove this topic of our human condition by any acrobatic fly over ideological imaginary space, future will be the era of the form. But we have to agree how we mean whith it. Abstractionâ&#x20AC;&#x2122;s and shaping faculties have to surpass themselves to create deals fluxus-oriented, whith culture and sensibility. Donâ&#x20AC;&#x2122;t forgetting the complex deal represented by all this conceptual gifts done by abstraction. I love to remember in this pages that neather in nature indicates the intuition of Stonehenge, nisi abstraction. Seeing some statistic gifts relatives to our planet, we can easily see like, as several N.U. studies forecast, in 2030 the 60 % of the worldwide population will live in megalopolis, or in colossal urban agglomerations. Tokyo, whith its 35 millions of habitants representing today the bigger town on the world, realizes such a biggest p. i. l. comparable just at the entire UK. Moreover today we say Global Cities meaning areas or regions highly industrialised 163

giving influence at planetary level, enclosing several cities completely interlinked, like the Ruhr region in Germany. Truly sensational is the continuum called BosWash, gathering early 42 millions, expanded long the east cost of United States around seven hundred miles. These models ratifies definitively the going out and the farewell between the form of the city and the contemporary forms of spatial life, the form of the city and the spatial working and communicate, and inevitably between the classic forms of the power and the real form to rule and control. Several main philosophers say the we live no more in the space-time era, but just in the time-age, and in this time-age the finance socio-dynamics ruling the morphologic configurations or involving spatial problems, are irreversibles.

3 - The Network Society: abstraction, form, identity This maps, the maps of the cities, long ago, hit the time, unwrightable on the same sheet of paper, because the contemporary city is not only a large mass of Space waiting for a solution, but an enormous superposition of layers done by nets and systems, a node of dense immaterial relationship, largely showing beside many opportunities such a conflicts and pains. A multilevel bonds and massive economics processes, today carryng the mythological name of globalisation. 164

On one hand city links, composes and de-composes new human multitudes submitting them at the impressive configurations of dwelling, on another hand, following the hyper speed of actual finance’s game, in the human environment take life several steady emergences on its critical edges reintroduced in real time in an hypothetic centre by new media, oriented towards an imaginary idea of the community, or if we prefere dissolving the centre’s meaning, in other words: the Show’s Society. This topics impose to us a serious and correct awarness of the reality, suggesting to elaborate different model of interaction in credible contexts, in which could co-evolve entire families of signs, signs almost certainly, allocated to take place instead of the objects. In this way the use of the nets of acknoledge, like ICT, represents one of most important key for the future of the idea’s production, but Design, as action of thinking, protagonist of the material and moral progress of the society, should do it widely using the systemic approach, avoiding to live immateriality as material. Following, example giving, the illusion of the linear processes that by the cells to molecules and beyond, should be able to manage hyper complex systems interpreting like hydraulic or mechanic systems, when nature of complex systems is completely different. Certainly a part of Design will deal around some product’s families, rather highly specialised but, at heart, design 165

should see itself as dynamic point into a net of variability flux, changing the semantic assumption of its intermediation between persons and needs. Design of the systems donâ&#x20AC;&#x2122;t looks at production as increasing of goods but feel itself like a part of a puzzle even missing final figure. Is its presence in the nets of acknowledge and information that design will be, more and more, in the midst of Complexity.

4 - Complicate or Complex; the topics of the Systems Design Considering the extension of scale which involve the net society through its several levels, we have to answer to the question concerning the core of our deal. The matter is: are we trying to resolve some material functions, or to manage relations in the emerging processes ? In which of those actions we are specially involved now? This question is the â&#x20AC;&#x153;side Bâ&#x20AC;? of another question: do we think a system be the whole sum of its elements, or we think a system as unity giving more than the sum ? Like a brain or a flock. The Reality is complicate or complex? The socio economic processes of the Global Society are complicated or complex? We can solve its contradictions disassembling and reassembling the dysfunctional elements, or perhaps the best procedures are more complex than this? Let us start considering the normal procedures in the modern modality or method166

ology to solve. Generally we have to face up to some bifurcations in the path of the project. I mean bifurcations tightly tied by a double bind in material, typology, morphology. In this path we can easily walk on, back or foreward, or to go or to retourn in our starting position if something don’t persuade us. Every kind of situation presents a double bind of solution e. g. we start by a typology of container, if the second bifurcation is “large or small ? “we are already oriented through better focusing the object. If the second question is “ solid or flexible material ? “ our focus will be better centered and yet we will have a small container in flexible material. If the third question is what kind of form ? Rectangular, cubic or spheryc ? We can add in our brain further input able overall to recognize or identify the status of the object that we are dealing, in other words, what kind of animal it is ! We don’t have to deny tg his procedure because it shown to us a very usefull modality in the past, to solve using also the right time necessary to solve. It’s really not a secondary goal in the industrial process, but I wonder my self: it would be the same, or so smart, if we operate whith the same work into the human body ? When the bifurcation give us for a side in the alveolus lung and the other in the wall of liver ? Can we walk forward or back as we like ? The situation start to seem just bit 167

complex than the precedent, because the bifurcations are not reversible, not specially i mean maybe yes but maybe not , nd this interrogative gives into the human body could means healing or not. It’s undeniable as for centuries the perspective condition has focused in the “Figure” as core of the own metanarrations. This figure, in the fast and dynamic circuit of the industry, has already begun in the XIX century to endure a process of fragmentation whose apex is emerged in an excessive unifing and homologating praxis as it have been guided from the razionalist movement. The rationalism movement has accepted with much courage the challenge with the serial world of the industry, creating practically from zero a new dictionary through the linguistic synthesis of the abstractism, also because inclusive of a principle of universal abstraction, inborn in conceptual geography of the human culture. In the fulfillment of this transition, towards the post-industrial society, we can see evidently the conceptual exodus that from the world of the figures it proceeds towards the world of the processes. This lead design to take conscience about a kind of “jump of scale” made by the digital era going fast towards a probabilistic scheme of generative possibilities, through the “world of the shapes” coming from the consolidated morphogenesis. This phenomenon happens by considering the complexity in which we live, and for the speed in which such complexity appears. A chal168

lenge and a fantastic opportunity to understand one essential and escaping issue, is where the level of the coherence of the sense shifted, or where the speech has been moved, where to trace the equilibrium point that alloy the sensitive data to the intelligible one. Therefore not only the tangible data from the senses but also the hypothetical data: in other words to try, and to produce, traces of meant in one unstable and complex geography.

5 Metaproject - The design rule of Metaproject Design plays in this scene an important role because it reopens, reactivating the world of the imaginary, exactly what the linear numerical dimension of the modern had closed, but at same time joining what the postmodern deregulated dimension of the chaos leaves free at the molecular state; into a perennial state of transformations without shape, information without contents, contents without meanings. Losing the interest to the metaphors we lose an important instrument to give hypotheses, even fragmentary, of collectivity and community. Metaproject design, working on the world of the metafunctions, opens an important creative space to the world of the “word”, to the complex “dictionary” of meaning non reductables to the biunivoc interpretations, who this take with himself, working exactly on the implicit diagonality existent inside the concepts. The philosophical backstage reaches comes opportunely, from the reflections on the strategies of the 169

knowledge and the narrations of the decostructionist philosophy of french philosophers Derrida and Deleuze, and in Isia they are inquired from many years, and that we would want to combine to the sistemic thinking about which we spoke to the beginning. Regarding the well structured praxis observed in the present of the neo-Moebius morphology, as example in the Theory of the Catastrophes, the conceptual approach, including the opening fields lanced by a free and symbolic links created by the poetry or literacy or painting, indicates a real issue to re-joint, and heating, the affective tie between the figure, and the net, the abstraction and the materic world, the concept and the sign, the technology and the problem to resolve. The metaproject strategy adopted in Isia of Rome since many years tries to include in its transdiscilinary laboratory something speaking about the â&#x20AC;&#x153;story of the sites and the thingsâ&#x20AC;?. Starting from traces and leaving traces, starting from the semantically closed art-work of modernity, and to proceede in to defragmentate, something able to let us to wander on, using the literature, poetry, architecture, anthropology, film. The aim is just to put us in a situation of hearing and dialogue with these praxis, and not to leave alone the morphologic searches on one side and conceptual expression from the other, to manage an enormous problem, projectual and logic or aestethic, in which they are absolutely not equipped to answer. 170

(*)

The following images are concept projects made in the Basic Design Course of ISIA Roma Design, around the subject of the urban structure morphology, net and figures, in the communication domaine. The task was the relationship between syntactic codes of design and architecture, and the flexibility of the functions, an experience of metadesign by prof Giuseppe Marinelli De Marco

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Federica Spera 2007

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Pirisi Sebastiano 2007

Di Nardo Belinda 2005, stud

modular spaces, on E. Lissits

Valicchia Francesca, modular space 2006

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Caira Sara 2007

dies on

Accurso Matteo 2007

Valicchia Francesca 2006

sky work

Loiodice Antonio 2007

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e r r e i P n a Je ac r a l C DESING AND THE CITY- Faculty of Architecture, University of Belgrade.

ape DPLG

andsc CLARAC L

De l’aménagement d’une place de 1ha en centre ville, à la conception d’un éco-quartier de 450 ha au milieu de la forêt.

1. LA PLACE DU GRAND JARDIN A la suite de la réalisation d’un parking souterrain pour éliminer les quelque cent trente automobiles qui encombraient le site, nous avons été chargés d’imaginer un traitement pour l’espace ainsi libéré. La théorie : Max Ernst nous a initiés au collage dans les années 30. A la fin de sa recherche, Fernand Léger mettait sur ses dessins des aplats de couleurs primaires. A Vence, nous avons tenté de coller un équipement nouveau au milieu d’une place, qui, créée au XIX è siècle, avait su depuis garder sa géométrie. Notre recherche a consisté à installer un intérieur, une périphérie, tout en respectant l’enveloppe bâtie. Le centre de la place se devait d’être perméable (stabilisé). Le trottoir périphérique, large de 8m, à l’image d’une margelle de piscine devait exprimer 175

l’horizontalité et par ce fait, la stabilité.

Le vécu : Le choix de laisser un grand espace libre de toute occupation fait que la place du Grand-Jardin a ainsi retrouvé son rôle de lieu de rencontres et d’espace multifonctionnel.

Il s’y déroule depuis, des manifestations sportives, culturelles et de loisirs, (Festival des Nuits du Sud, marché de Noël, brocantes, etc...)

VENCE, Alpes maritimes -1995

2. SENTIERS DE BORD DE MER L’origine du sentier du littoral est ancienne. Le sentier du douanier est créé sous la Révolution par l’Administration des Douanes, afin de surveiller les côtes. Utilisé par les douaniers jusqu’au début du XXème siècle, il tombe peu à peu en désuétude.

En 1973, le Ministère de l’Equipement commence à mettre en oeuvre une politique de désenclavement des plages existantes par la création de chemins 176

piétonniers afin de les rendre plus accessibles au public.

Puis, c’est la loi du 31 décembre 1976 qui, en instituant une servitude de passage le long du littoral, d’une largeur de 3 mètres, sur les propriétés privées riveraines du domaine public maritime, redonne véritablement vie au sentier. La loi «littoral» de janvier 1986 en permettant la création d’une servitude transversale au rivage, renforce cette volonté d’ouverture et d’accès aux sites riverains de la mer.

Le sentier du littoral est un instrument de valorisation non seulement du patrimoine maritime mais également des espaces naturels traversés quand l’objectif partagé par tous est de protéger le rivage et de l’ouvrir au public dans le respect de la nature.

1 102 Km de sentiers restent à ouvrir au public et à aménager. Nous avons étudié la faisabilité d’un sentier du littoral à Nice, Cannes et au tour du Cap d’Antibes. Une partie, au Cap d’Antibes est en cours de réalisation.

CANNES, ANTIBES, Alpes maritimes - 1982 - 2004 - 2008 177

3. AEROPARC DE BELFORT : CONCEVOIR LA BIODIVERSITE Le projet d’aménagement et le plan de gestion des espaces naturels à l’intérieur d’un parc d’activités, peuvent-ils contribuer au développement de la biodiversité ?

Tout territoire est porteur de signes et de sens. Son examen approfondi, dans les domaines aussi divers que l’archéologie, la géologie, la pédologie, les traces de l’activité humaine, les données climatiques … autorise l’invention d’un projet qui s’enrichit de toutes ces données.

L’Aéroparc de Belfort, installé sur le site d’une ancienne base militaire étendu sur 280 ha, a été construit dans le cadre d’une démarche de haute qualité environnementale.

Dès la phase de conception et durant celle de l’aménagement, le programme prévoit de maîtriser au mieux les rejets d’eaux usées et eaux pluviales et de mettre l’accent sur la qualité paysagère tout en travaillant à réduire les nuisances sonores et lumineuses, dans un souci de prise en compte des populations riveraines.

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Un des enjeux du projet était de parvenir à concilier le maintien d’une ruralité forte de villages typique du Sundgau, avec un développement économique important et de qualité. 11 entreprises y sont déjà implantées pour plus de 1 200 emplois effectifs.

BELFORT, Territoire de Belfort - 2000 à 2003

4. LE STOCKAGE DES DECHETS INERTES Il est convenu d’interrompre les dépôts opportunistes de matériaux inertes et de définir des sites d’accueil où l’apport de matériaux enrichit le territoire en créant des supports à de nouvelles pratiques.

Nous rappelons que les anciennes carrières des Buttes Chaumont ont accueilli 1 millions de m3 provenant du creusement des tunnels du métro et, mis en forme en respectant les règles de l’Art des Jardins. Aujourd’hui le voisinage du Parc valorise le quartier alentour.

Il faut rechercher des sites marginalisés, en déshérence, sans caractère et imaginer, pour chacun d’eux, l’intérêt que pourrait représenter la mise en forme de plusieurs millions de m3 de matériaux inertes. 179

Cette attitude ne dispense pas les industriels :

- de réduire la production de déchets,

- d’optimiser le tri sur les chantiers,

- d’organiser les filières de traitements,

- de promouvoir le recyclage des matériaux.

Composer avec (les spécificités du site) c’est refuser de composer contre (les spécificités du site) et ainsi renforcer l’identité spécifique de chaque territoire

1. Des sites de dépôts qui valorisent les territoires d’accueil. 2. Eléments de Doctrine. Mise en débat d’opinion.

5. ETUDE PAYSAGERE DU BASSIN DE VIE D’AVIGNON L’agglomération d’Avignon est un bassin de vie de 36 communes autour d’Avignon qui regroupe environ 260 000 habitants. Ce chiffre, en constante progression depuis plus de 20 ans comporte pour corollaires un fort étalement urbain, des trafics routiers en expansion, des nouveaux pôles de développement et de grands équipements (nouvelle ligne de TGV, nouvelle gare, LEO, cité judiciaire...). 180

Ce développement rapide autour de la ville-centre, s’est nécessairement dilué autour de nombreux pôles villageois en fonction de l’offre foncière et des voies de communication sur trois départements et deux régions.

La présente étude cherche à établir une vision commune et clarifiée des différents paysages de l’agglomération et faire comprendre collectivement le sens du paysage, ses tendances, ses enjeux.

Elle vise à identifier les éléments de paysage et leurs dynamiques aptes à constituer les bases d’un ensemble cohérent de mesures et d’actions pouvant guider les instances décisionnaires.

Bassin de vie d’AVIGNON, Bouches du Rhône, Gard et

Vaucluse - 2000

6. ETUDE PAYSAGERE DU SITE STRATEGIQUE DE BOMPAS Tout est possible sur ce territoire à condition que toutes les actions concourent à l’installation d’une transparence, d’une mixité et d’une fluidité, lieux nouveaux sur lesquels peut s’exprimer la nouvelle identité du Pays 181

d’Avignon (car les fondements du Pays d’Avignon sont uniques).

Ce n’est pas le territoire qui nous définit les règles, ce sont les questions de l’urbanisme qui nous imposent des concepts tels que :

- refaire la ville sur la ville,

- assurer la mixité sociale,

- se déplacer selon un mode économe,

- protéger les paysages emblématiques (voir loi S R U).

Le travail de l’Urbaniste Paysagiste consiste à examiner tous les nouveaux projets et à vérifier comment ceux-ci entretiennent avec les fondements du territoire, un rapport de dépendance. La relation peut exister par le vide par le vide (absence de relations formelles), par le plein (construction de rapports formels).

Une fois le plan de composition générale installé, va se poser la question de gestion publique de ces mises en relation qui deviennent l’ossature et la structure d’une gestion raisonnée d’un territoire en évolution.

Comment un projet égoïste doit-il se recomposer pour présenter deux fac182

ettes : celle de la rigueur du projet et celle de la participation au débat public ?

AVIGNON, CAUMONT sur DURANCE et MAURIERE lès AVIGNON, Vaucluse - 2001

7. PLH DE LA COMMUNAUTE D’AGGLOMERATION DU PAYS AJACCIEN, « LES HAMEAUX DE L’AVENIR » Respectueux des valeurs de leur territoire, les Ajacciens ont respecté leur pays jusqu’à habiter exclusivement dans des villages. Même quand un village, suite à un événement majeur, devait être abandonné, il servait de modèle au nouveau.

La période récente a fait la promotion de la grande villa accrochée à la colline, desservie par la voie communale et par des chemins pentus que l’on pratique allègrement en véhicule tout terrain. Toutes ces nouvelles maisons regardent la mer et les montagnes ne représentent pas le même centre d’intérêt. Les déplacements entre le domicile et les lieux de travail vont, dans les prochaines années, connaître de grands bouleversements. Le déplacement en véhicule individuel deviendra l’exception au profit 183

d’une mobilité plus importante, mais effectuée au moyen de transports groupés.

Des solutions pourront apparaître pour gérer la crise actuelle, mais les nouveaux quartiers doivent être conçus en mettant en avant « les valeurs partagées » :

Hier On se protégeait du soleil par de petites ouvertures. On vivait dans des petites pièces (portée 3,5m). Le jardin était une nécessité. La mobilité des biens et des personnes nécessitait des efforts physiques et l’homme était aidé par les animaux puis les machines. On se regroupait autour de la famille. La relation travail-habitat était étroite, le déplacement (à pied) durait une demi -heure. Le village groupé offrait tous les services, les espaces entre les maisons servaient de sites d’accueils aux pratiques sociales.

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Aujourd’hui On filtre le soleil, et on profite de la vue. On s’installe dans des grands volumes (portée 7 à 8m. Le jardin est un plaisir. Les déplacements des informations des biens et des personnes sont dominés. On se regroupe autour d’un projet commun ou d’une vue unique. On consacre toujours une demi-heure pour se rendre à son travail, mais la distance parcourue a changé. L’habitat éclaté trouve ses limites quand il s’agit de rejoindre l’école, l’épicerie, les équipements publics. Le hameau offre des services. Le vieillissement de la population redonne aux hameaux un intérêt nouveau. L’espace public est dessiné, ce n’est plus un espace résiduel.

COMMUNAUTE D’AGGLOMERATION DU PAYS AJACCIEN, Corse du Sud - 2006

8. DOMAINE GRIME : PROPOSITIONS POUR UN AMENAGEMENT INTEGRE

« Les utopies d’aujourd’hui seront peut être les réalités de demain » Théodore MONOD

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Il est facile de constater que nous avons de plus en plus besoin d‘un rapport à la nature. - Dans les villages, la nature n’est jamais trop loin - Dans les villes, les Maîtres-Jardiniers ont su l’apprivoiser et la mettre à disposition des hommes.

· les squares,

· les jardins,

· les parcs,

· les cours,

apportent à la ville la maîtrise de l’eau, de la végétation, de la fraîcheur et tout compte fait, ces installations nous offrent les effets bénéfiques d’une nature maîtrisée.

Aujourd’hui, nous composons les extensions urbaines par fragments et nous n’accordons plus la même place aux moments de nature.

Devons-nous nous réconcilier avec les règles de la composition urbaine qui sait mixer moment de nature et densité urbaine ? Notre statut de nomade nous conduit à confronter notre regard à une nature qui nous environne. 186

Mais la comprenons-nous bien ? La vivons-nous à travers des vitres aseptisées ? Sommes-nous dans une situation de « spectacle » ? Avons-nous perdu les repères du temps, des saisons et des usages qui ont longtemps rythmé les activités des hommes ?

L’ambition des décennies à venir et d’assurer la confrontation et le dialogue entre un homme, enfant de la planète, et une nature qui ne nous effraie plus car nous avons appris à composer avec et à nous protéger de ses élans.

Extension d’un village. Mutation d’un espace naturel de 450ha, en espace habité.

.ST PAUL-en-FORET, Var - 2008

Jean-Pierre CLARAC PAYSAGISTE DPLG

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Aleksandar KujuÄ?ev

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a n a g a r D ć i v o n e j n Og

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Goran MarkoviÄ&#x2021;

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o k n a Br vić Pa Art Workshop GRAFFITI

Home for Adults with Disabilities “Dr Dragisa Vitosevic” Belgrade, 2007

Since 2000, the Home for Adults with Disabilities “Dr Dragisa Vitosevic” has hosted Art Workshops. Originally, within a project of psychological and social support to persons with disabilities, the workshops were organized by the non-governmental organization Handicap International. The project ended after two years, ceasing all activities related to the project except Art Workshops, which have continued to this day. Main aims of these workshops are related to the fight against passivity and seclusion, and attempt to increase self-confidence, strengthen identification and stimulate initiative and desire to learn, i.e. to create possibilities for expression of personality and diminishing of isolation, stigmatization and discrimination to which the residents of the Home are routinely exposed. In the beginning of our work, the workshops were not intended to assist in attaining skills, but to stimulate perception, to develop the freedom of expression and imagination, to advance choice and decision195

making with regard to motivation, as well as to inform the participants with fundamentals of the theory of form and art history. The workshops went through a rocky road of accommodating to wishes, interests and abilities of the participants. In time, the number of participants increased (reaching 10 persons), as well as the interest in practical work, current trends in painting, art history and other forms of art. The participants have gradually selected a certain style of work, recognizing their own affinities and choices, thereby creating their characteristic styles. Some of them preferred simple shapes and geometrical solutions, while others chose more traditional, figurative approach. The fact that some participants were not able to perform precise manual work, instead of being a source of problems, turned into an advantage â&#x20AC;&#x201C; these participants were the most active in the theoretical part of the workshops, while their suggestions were often used to create the content of following workshops. One of the most important achievements of Art Workshops was the fact that users who were previously incapable of specific manual work managed to create works of art exhibiting a recognizable and unique style. Some of them â&#x20AC;&#x153;accidentallyâ&#x20AC;? tried to paint ceramic objects and realized that their designs were decorative, and that they were capable of creating an art work of a quite unique style. Although the achievement of 196

drawing and decoration skills was not one of our goals, certain participants noticed how they were capable of achieving more precise movements, making more confident lines and succeeding in realizing their ideas. The Art Workshops favour individual approach and the work program was modified for each participant, always in accordance with individual desires and psychological and physical abilities, thus allowing the recognition of participantsâ&#x20AC;&#x2122; own affinities and expressive abilities. Today, the Art Workshops are self-sustainable, which was achieved by sale of its works of art. During the last few years, we have had a unique opportunity to host several artists in the Home â&#x20AC;&#x153;Dr Dragisa Vitosevicâ&#x20AC;? and to present their art works to participants of the Art Workshop. As a part of those activities, Branko Pavic, an artist and professor at the Faculty of Architecture in Belgrade, and Dusan Rajic, a young artist and student of architecture, were invited as guests within the Art Workshop. At the Faculty of Architecture in Belgrade there is a long tradition of art workshops within the Painting Cabinet (Workshop 301) which are a place of experimentation with different media and the possibilities of artistic expression in the borderline area between art and architecture. A significant characteristic of these workshops is the emphasis on creation of a strong concept and its consistent realization, as well as on high standards 197

of production of works and their presentation. These activities resulted in numerous projects and exhibitions which explored the processes of creative expression and adopted new technologies in the field of fine arts: “Alter Image” in 1996, “Lust for Life” in 1997, “Narratives of the Unseen” in 2005, and “Hybrid City” in 2006. Professor Pavic, who had this kind of experience, created a concept of the workshop in the Home for Adults with Disabilities “Dr Dragisa Vitosevic” as an artistic graffiti project. The basis for conceptualizing of such workshop form was the experience gained at the Faculty of Architecture, where the subject of graffiti was included in the second year’s curriculum, resulting in painting of internal walls of the Faculty. This subject is very familiar to students of architecture because drawings and graffiti are very frequent and popular form of artistic expression of students, and a wellknown urban phenomenon. One of the young artists working with this kind of drawings, Dusan Rajic, was invited to conceptualize and implement the workshop, as well as to present and explain the subject of graffiti from the creator’s point of view. The Graffiti Workshop in the Home for Adults with Disabilities “Dr Dragisa Vitosevic” consisted of two parts: the first, workshop part, and the second part – installation of drawings and graffiti in the field. 198

The first part explained the concept of graffiti and presented interesting examples. After the presentation, drawings were made on specially created ceramic plates. These plates were specifically crafted for this occasion (baked on high temperature) to allow them to survive as long as possible in the open space. Weather-resistant paints were used for painting and drawing. Topics were not limited and each participant had a chance to select a location where they would like to place their plate with graffiti. The second part of the workshop consisted of work in the field. Accepting the suggestions of workshopâ&#x20AC;&#x2122;s participants, professor Pavic and his associate, Dusan Rajic, placed the plates at locations chosen by artists themselves. Walls, concrete columns and deserted objects were some of the places where graffiti were installed. A map of the city was created, showing locations with graffiti plates â&#x20AC;&#x201C; Ohridska St., Mlatisumina St., Block 62... A detailed photographic documentation was made to describe the process of creation of the plates and its visual results, and together with the map it represents the final product of the workshop.

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The aim of this Graffiti Workshop was to allow disabled persons to â&#x20AC;&#x153;conquerâ&#x20AC;? the urban space, which was enriched with this artistic interventions created using an art form which entails significant physical activity and spatial mobility. In this way, this concept contributed to extension of the Art Workshop in the direction that has been successfully explored for years.

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Prof. Branko Pavic, Dr Bogdanka Cabak ……………... Participants: Ljubica Muzicki, Nada Muzicki, Zorica Filipovic, Dusan Djurovic, Natasa Krstic, Snezana Malesevic, Draginja Latinovic

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Dragan Jelenkov i

“We talk about ’colour-blindness’ and we call it a flaw. However, there could easily be a number of various capabilities, with undoubtedly not a single one less valuable than the other. And also bear in mind that someone can go through life with their colour-blindness remaining unnoticed, up to the point when on some rare occasion it becomes revealed.“ (31) Ludvig Witgenstein1

Contemporary art creates free spaces whose rhythms and interactions are juxtaposed with daily routine; thus, new opportunities arise and assume very important roles in communication zones. What we have in mind are modest, already existing museum spaces, art centres, and galleries, where the exchange of different art languages takes place within the art itself, while at the same time it also presents itself to the public. Cultural democratisation still has not reached this region, while the previously announced suitable spaces and activities represent only a glimpse into the vivid imagination of our milieu. Prospective programmes and strategies still remain only a matter of discussion in the official cultural institutions. 205

Ludvig Witgenstein, Opaske o bojama (Remarks on Colour), Beograd-Novi Sad 1994; publishers: Matica

srpska, Cicero, Pismo; editor, Rasa Livada; adapted by G.E.M. Anskum.

Art centres should possess a certain openness towards all forms and aspects of modern life, not only artistic and cultural, but also social and economic. Such places with the air of acceptance and transparency become opportunities for learning, they become spaces where it is possible to have fun, to spend some time, the place where one can react, participate, where people get to know each other and exchange points of view. Finally, in such places art would not be explained, but communicated, and it would be possible to choose how and what one can learn through art. The history of modern European art centres goes all the way back to 1759, the year when British Meseum was founded in the United Kingdom. Initially, it constituted only a semi-public collection of books and manuscripts open to the general public. On the American continent, programmes and museums were of a more civilian nature. The first museum of contemporary art was Museum of Modern Art in New York. It represented a new kind of museum entirely dedicated to modernity; it was a brand new and original place where an absolute freedom and inventiveness were allowed. The first museum of contemporary art was situated in an office; it was MoMa Museum, which represented a certain laboratory comprising public participation of citizens and artists. Naturally, it did not possess a strictly de206

fined programme limited solely to presenting painting and sculpture, for it also accepted photography, architecture, design, film, namely all the areas connected with visual arts. It was a place where a great many discussions were held, a place where artist also assumed an active role in the art field. Upon completion of National Museum of Arts of 21st century in Rome (Museo nazionale delle Arti del XXI secolo, Roma), whose opening is scheduled for this year, the Italian government expects to provide a considerable contribution to contemporary art. The project of the museum itself is signed by Zaha Hadid, one of the world top architects. The concept of MAXXI includes acquisitions and young artists recruitment, as well as the area between art and architecture. Cultural centres, museums and galleries nowadays represent specific places, and forums, halls and squares are visited by more and more people, so that the process of democratisation of culture is most clearly seen in the free and unrestricted access to the field of arts. Paradoxically, contemporary art was far from people; however, in this day and age the constructions themselves, the projects of attractive architectural solutions of contemporary museums have shown that opposite cultural poles of some cities are changing. On completion ot Guggenheim Museum in Bilbao (1997), the work of Frank Ghery, this Basque city became a more at207

tractive tourist destination, with approximately 1.4 million visitors a year. The Museum architecture itself, the construction of the building, a new hall, restoration and changing the purpose of certain buildings have all attracted attention of the media and the public. Such is the way in which museums in the form of buildings-monuments come into existence; let us mention Tate Modern in London, some open museums, e.g. Centre Pompidou, also called “transparent museum”, exactly because there is no fear of a threshhold, and everything is clearly visible from the outside, or attractive, like the architecture of the abovementioned Guggenheim Museum, whose appearance resembles a sculpure rather than a building. Nowadays we clearly see that it is not enough any more just to have galleries and museums opened to the public, because works of art are not going to introduce themselves alone and communicate with the audience; therefore, presentation methods, accompanying texts and analyses, demand careful selection and specific evaluation of the material given. Tate Modern has held a very successful exhibition this autumn, the project called “Global Cities in the Changing World 2007” with the following motto placed at the entrance to the Turbine Hall: “In the year 2007, for the first time in history, 50 per cent of the world population lives in cities”. The 208

contents of the project are documented with increasing demographic data and presented in the form of photographs, maps, video clips, scale models... Special educational programmes, inexhaustible databases supporting a rich variety of expressions and artistic languages provide a pleasant and somewhat active visit to visitors with different levels of education. Gallery of Contemporary Art within the Cultural Centre of Pancevo celebrated a most unusual anniversary last year: thirty years of constant activities. The celebration included displaying appropriate exhibits from modest but considerable collection belonging to the Gallery, as well as the publication of “Gallery of Contemporary Art”2, which encompasses immense analytical documentation. In her introductory article, “The First Thirty Years”, Jasmina Cubrilo, art historian, emphasises the most important activities undertaken by the Gallery throughout its work of thirty years: “A few projects, which by the means of their uniqueness and/or the influence they have had or could have, shape the identity of the Gallery, which has already been stated at the celebration of 25th anniversary of the Gallery. Those milestones are, surely, the exhibition of Yugoslav sculpture in Pancevo, Biennale of visual arts, in ternational art workshop “Staklo”, the Regional-Universal Project, International Comics Festival GRRR!, Gallery Project, as well as the activities 209

Gallery of Contemporary Art; compiled by Dragan Jelenkovic; publisher: Pancevo Cultural Centre,

2006.

and the position of the Gallery in relation to the art scenes in Vojvodina, Serbia and Yugoslavia in the course of the last decade ot the 20th century.”3 In the meantime, in September 2006, Biennale of Visual Arts was transformed, in accordance with current trends and the needs of contemporary society, into Biennale of Arts. The greatest change in the concept of this international manifestation represented a change in the very structure of the Biennale which now became richer in new segments; apart from visual arts, a considerable amount of space was given to the research into theatrical and film arts. On the occasion of the Biennale of Arts whose title was “The Defence of Nature” a prominent professor from Belgrade, Jerko Denegri, in his article called “The Concept of the Twelfth Biennale in Pancevo as a Fundamental Political Stance”, which was published in the abovementioned publication4, elaborated on the importance of the manifestation: “Therefore, it is not exaggerated to say that a particular strength of this year’s Pancevo Biennale lies in its concept of ideas communicated and developed in the introductory article of the catalogue, due to which it is shown how performances of contemporary art rise above the panorama of the works of art and turn into suggestions about serious public discussions of cultural, social, political and, ultimately, existential problems of one’s own milieu, with the aim od 3

p.12

12th Biennale of Arts “The Defence of Nature“; publisher: Pancevo Cultural Centre, 2006

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entertaining, engaging, alarming, or even provoking the general public”.5 Biennale was accompanied by an extensive publication of carefully selected articles. The introductory text was written by Professor Antonio D’Avossa, the important artist’s contemporary, and is entitled “Art and Science: Joseph Beuys as Leonardo da Vinci”; a lecture on life and works of the mentioned artist was held at the same time. Art works selector, Lidija Merenik, together with Slobodan Jovanovic, published the article “Suppressing the Issue of Grand Utopias”. “Not only is this exhibition, for the very first time in our milieu, focused on artistic eco-activist groups, but it also ultimately raises a single issue: of

morality and spiritual substance in art as the sole mouthful of one’s own (and our own) future.”6 The theatrical segment of the Biennale of Arts was founded on a visit made by the Dakar Company established in the Netherlands in 2001 by Guido Kleene. In cooperation with Bitef organisers, the Dakar Company performed a play in cooperation with Lotte van den Berg, called “Jalova zemlja” (Barren Land), based on the text of John Coetzee. The film segment of the Biennale was also dedicated to the production of Kanjiza Cultural Centre and their famous choreographer and theatrical artist Jozef Nadj, apart from the mentioned films about the life and works of Jozef Bojs. Biennale of Arts represents only one of the manifestations which have been or211

p. 66

p. 28

ganised for many years in the Gallery of Contemporary Art within the Pancevo Cultural Centre. This year, the International Comics Festival GRRR! has also prepared, apart from the exhibition of creators’ boards, an extensive publication entitled “A Century of Comics in Serbia”, prepared by Zdravko Zupan. The project “Art, Architecture, Design”, undertaken in the last couple of years, has a tendency to gather, document and theoretically analyse valuable phenomena from the mentioned areas. Supposing we would like new audience to visit public exhibition halls, it is necessary to emphasise that, if we have only doors wide open, such an effort is insufficient. Quite often, the audience itself is characterised as uninterested and inert; however, the problem lies in the lack of knowledge and understanding when it comes to cultural activities in town. It is true that programmes do not speak for themselves and, for that reason, an additional interpretation, be it in the form of a spoken word or theoretical practice, is essential. The importance of galleries, museums and all other exhibition halls is clearly seen in the change of perception of the audience themselves, as well as their education, which is feasible only by way of a systematic, methodologically well-developed functioning of various institutions. Only in that way can the interest of both general public and experts become even more attractive and provocative. 212

Trafalgar Square, London

12. Bijanale umetnosti Ivan FijoliÄ&#x2021;, Dvanest autoportreta 2002. porcelan i biljke, 22,5 x 12,5 x 12 (vlasnik Filip Trade)

213

12. Bijanale umetnosti Compagine Dakar 2004. - 2006. ,,Pustaraâ&#x20AC;? u saradnji sa Lote van den Berg

Tejt, London, avgust, 2007.

??????????????????????????????

Vek stripa u Srbiji Naslovna strana monografije

Tejt, London, avgust, 2007.

Zdravko Zupan, 2007.

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Biographies

CHARLOTTE C 217

Charlotte Cohen is a Regional Fine Arts Officer for the U.S. General Services Administration where she manages both new art commissions at federal buildings, as well as the fine arts collection, in the New York region. She is the former director of the New York City Department of Cultural Affairs Percent for Art Program, prior to which she worked at the Smithsonian Institution in Washington, DC. Charlotte has lectured extensively about public art in the United States and abroad. She curated a group of public art artists and experts who visited Russia to lecture and initiate public art projects, and is an adjunct faculty member at New York University. Charlotte is a member of the Public Art Network (PAN) Council, a national organization.

COHEN

218

Darko Radovic teaches at Keio University, Tokyo and the University of Melbourne. He received his doctorate in Architecture and Urbanism from the University of Belgrade, Yugoslavia, and taught, researched and practised architecture and urbanism in Europe, Australia and Asia. Darkoâ&#x20AC;&#x2122;s investigation of the concepts of urbanity and sustainable development focuses at culturally and environmentally diverse contexts, which exemplify and expose difference and offer encounter with the other. His books include Green City (with Low, Green Gleeson; Routledge, 2005), Cross-Cultural Urban Design (with Bull, Boontharm Parin; Routledge 2007), Urbophilia (with Djukanovic; University of Belgrade, 2007), Another Tokyo (University of Tokyo, icii Shoubou, 2008)., and eco-urbanity (Routledge, 2009).

219

DAR

RKO RADOVIĆ 220

Roberto A. Cherubini is known for his personality of designer, publisher and professor in the field of architecture and urban studies, with a peculiar interest for urban redevelopment and architectural renewal in coastal and harbour towns. Based in Rome, his activity looks to the wider international scene of design out of any geographic or cultural border. After a long experience as leading partner, later director, of international workshops all over Europe, Roberto A. Cherubini establishes in the year 1999 CSIAA, the design office intended as a think tank for architecture, urban and landscape design, able to work out of the common highline, accompanying its design activity with individually structured public debates, research and publications. Since the year 2000, when it was called in Hanover by Workshop Expo 2000 , laying out a form for the sustainable future of the world fair field and buildings, CSIAA works innovative -mixing the different design scales of landscape, town and architecture. CSIAA design action is focusing the contemporary problems of development and sustainability, permanence and transformation, local identity and global image. Roberto A. Cherubini is leading CSIAA taking directly part to its design

ROBERTO A

actions and promoting the activity of the office as publisher and lecturer. 221

A. CHERUBINI 222

Head of the Department of Urban and Regional Planning, University of Florence Full Professor of Planning at the Faculty of Architecture. Co-ordinator of: - INURA (International Network for Urban Research and Action) - Florence - LabPSM (Laboratory City and Territory in the South of the World) - Cultural agreements between University of Florence and Universidad de Leon, Nicaragua; Central de Venezuela, Caracas; Colima, Messico; Catolica Nordestana, Rep. Dominicana; Jadavpur Kolkata, India; Belgrade, Serbia As expert in urban and territorial planning, especially in the context of the countries of the South, he coordinated several international researchs and cooperation projects, and published books and essays in Italy and abroad

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RAFFA

FAELE PALOSCIA 224

Roberto A. Cherubini (Prof. PhD Arch.) In the Eighties After studies in the Faculty of Architecture of Rome and practice in Italy and in Germany, opens his own design office in Rome. Architectural journalist. Assistant editor of Arredourbano , magazine for architecture and urban design. PhD on Architecture and Urban Identity in the University of Rome Exhibitions of his projects in Italy and in Europe (Rome, Vienna, Berlin) In the Nineties Since 1993 Professor of Design in the Faculty of Architecture, “La Sapienza” University of Rome. Author of La linea d’acqua , a survey on waterfront design in Italy. Co-director of the design workshop Bauen am Wasser (Building on the water) in Italy and in Germany. Visiting Professor in Hamburg Conferences and lectures in Italy, in Germany and in Spain. Projects and essays published on national and international reviews. Co-director of Rome-Berlin, design workshop on topical areas of two capital cities. In the year 1999 founder of CSIAA, think thank and office for architecture and urban design. New Millennium Projects with CSIAA in Italy and abroad. International competitions and design consulting in Hamburg, Bremen, Gran Canaria, Akureyri and Reykjavik (Iceland), Belgrade, Valencia, Copenhagen on urban redevelopment and architectural renewal in harbour towns. Architecture on the water. The idea of a urban-scattered museum. Co-director of Workshop Expo 2000 , on the reuse of the Hanover Expo areas and buildings, and author of the book Quattro progetti sul futuro dell’Expo, report on the design activity of the workshop.

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Director of the International Workshop on Harbour and Coastal Design, in Italy, Germany and Turkey Author of the book CSIAA_Docks Reloaded, a report on CSIAA design activity. Author of the book Lakemarks/Landmarks, second of a Trilogy on waterfront design. Member of the editorial board of the review Metamorfosi â&#x20AC;&#x201C; Quaderni di Architettura Editor of the series of books CSIAA Internazionale in Rome. Roberto A. Cherubini is known for his personality of designer, publisher and professor in the field of architecture and urban studies, with a peculiar interest for urban redevelopment and architectural renewal in coastal and harbour towns. Based in Rome, his activity looks to the wider international scene of design out of any geographic or cultural border. After a long experience as leading partner, later director, of international workshops all over Europe, Roberto A. Cherubini establishes in the year 1999 CSIAA, the design office intended as a think tank for architecture, urban and landscape design, able to work out of the common highline, accompanying its design activity with individually structured public debates, research and publications. Since the year 2000, when it was called in Hanover by Workshop Expo 2000 , laying out a form for the sustainable future of the world fair field and buildings, CSIAA works innovative -mixing the different design scales of landscape, town and architecture. CSIAA design action is focusing the contemporary problems of development and sustainability, permanence and transformation, local identity and global image. Roberto A. Cherubini is leading CSIAA taking directly part to its design actions and promoting the activity of the office as publisher and lecturer. His book CSIAA_Docks Reloaded , the report on CSIAA projects on coastal design recently published in its international edition, has been presented Harvard in April, 2007. As member of the editorial board of the review Metamorfosi-Quaderni di Architettura, Roberto A. Cherubini is issuing the bi-monthly column Territori di confine , an investigation on the border line of experimental design. As professor of design in the Faculty of Architecture in Rome, Roberto A. Cherubini is actually editing Landmarks/Lakemarks , a book based on his teaching experience on the question of the presence of architecture along the lakefronts.

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GIOV

VANNI RUFFINI 228

LAURA BIANCHI 229

LAURA BIANCHINI (Trevi nel Lazio, Italy, 1954)

Studied Cmposition and Eectronic music at the Conservatory of L’Aquila. She collaborated in the realization of electronic systems for musical composition, including the construction in 1983 of one of the earliest Italian computers for sound synthesis in real time, Fly10, designed by composer Michelangelo Lupone.

Her musical productions includes electronic and instrumental works, performed at international festivals.

For several years she has been carrying out research work on the relationship between text and music and on the musical fable (commissions Rai, Vatican Radio, Hessischer Rundfunk).

She was president of “Musica Verticale” (1988/92). She is co-founder and codirector of CRM-Centro Ricerche Musicali, a Centre for musical research in Rome.

INI

230

Michelangelo Lupone (Solopaca, Italy, 1953)

Eclectic composer and music researcher. He designed innovative systems for sound synthesis and analysis in real time, Fly10 and Fly30). His artistic activity includes Dance and Intermediality. His works produced with the collaboration of visual artists as Momo, Pistoletto, Uecker, Moricone, Galizia, Paladino, created a particular genre of musical theatre that paid more and more attention to the integrated use of the listening environment (Art Sound Installations and Theatre of Listening). These studies gave origin to great systems for sound diffusion such as PlanephonesÂŽ, Holophones, Waveguides, Reflecting Screens and extra-ordinary instruments (such as Feed-drum).

In 2007 he realized for Alto Calore Company a permanent musical work combined to the sculpture of Mimmo Paladino in the hydrogeological site of Solopaca (Italy).

Co-founder of Centro Ricerche Musicali-CRM. He is director of Music and New Technologies Department at the Conservatory of Lâ&#x20AC;&#x2122;Aquila.

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MICHELAN

NGELO LUPONE 232

CORRADO TERZ 233

STUDIO ANNUNZIATA & TERZI Via di S. Erasmo,12 - 00184 Roma (IT) Tel.: +39 06 8080048 - Fax.: +39 06 8080058 e.mail: admin@dida.fastwebnet.it corrado.terzi@fastwebnet.it web: www.annunziataeterzi.com

234

Degree in Architecture at the University of Rome “La Sapienza”, (1968). Member of the Association of Architects of Rome from 1971. Since 2001 Full Professor of Industrial Design at the Faculty of Architecture of “La Sapienza” University, Rome. Professor of Architectural Lighting Design at the “Ludovico Quaroni” Faculty of Architecture in Rome. Director of the International Master Course in Lighting Design at “La Sapienza” University, Rome. Member of AIDI (Italian Lighting Association) and editor at the review LUCE. Consultant for ACEA (municipal public utility group in the Energy, Water and Environment sector) of Rome. Consultant for ENEL (National Electricity Board) -“Luce per l’Arte” (“Light for Art”) for the architectural lighting. Consultant for ENEL - So.l.e. for urban lighting Master Plans. Consultant for the Ministry of Public Works for the Landscape Lighting of the archaeological site of roman Port of Claudio and Traiano. Consultant for the Department for the Architectural, Artistic and Historic Heritage of Rome. Consultant for the Archaeological Direction of Pompei and Naple. Consultant for Zetema (Company of the Rome Municipality) for museum and 235

architecture lighting. Consultant for Leonardo da Vinci Airport of Rome for Interior Design e Lighting Design. Senior Partner of the Annunziata & Terzi Studio situated in Via di S. Erasmo 12 - 00184 -Rome.

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MAIN WORKS (Lighting Design)

2008 Plan for the requalification and architectural lighting of five multi storey car park in the â&#x20AC;&#x153;Leonardo da Vinciâ&#x20AC;? Airport, Fiumicino (Rome).

- Customer: ADR Engineering

2007 Plan for the interior and exterior architectural lighting of Hotel Romeo in Napoli.

- Architectural design: Kenzo Tange Associates - Tokyo

- Customer: Romeo Alberghi srl

2007 Plan for the natural and artificial lighting of the Aula Giulio Cesare (Municipal Council Room) in the Capitol, Rome. - Customer: Zetema S.p.A.

2007 Plan for the natural and artificial lighting of the new building of La Sapienza University

Pietralata, in Rome.

- Architectural project: Department of Architectural Design, La Sapi-

enza University 237

- Customer: La Sapienza University, Rome.

2005-6

Plan for the natural and artificial lighting of the Capitoline

Museum extension in Rome.

- Architectural project: Studio Carlo Ajmonino.

- Customer: Zetema S.r.l.

2004 Plan for the lighting and exhibition design for the new museum of Palestra Grande in the Pompei archaeological area.

- Customer: Archaeological Direction of Pompei.

2004 Plan of architectural lighting for the Minister of Finance Building in Via XX Settembre, Rome. - Customer: Romeo S.p.A.

2003 Lighting Master Plan (PRIU) for the City of Recanati.

- Customer: iGuzzini Lighting

238

2002 Plan of interior architectural lighting for nine main Italian railway stations (Turin, Florence, Bologna, Naples, Bari, Palermo, Venice-Mestre, Verona). - Customer: Grandi Stazioni S.p.A.

2002 Lighting for the Council Chamber and boardrooms of the Palazzo della Consulta (Constitutional Court of Italy) in Rome.

- Customer: Department for the Architectural, Artistic and Historic

Heritage of Rome.

2002 Lighting Master Plan (PRIU) for the City of Caserta.

239

- Customer: So.l.e S.p.A.â&#x20AC;&#x201C; ENEL Group

1999 Concept and plan of architectural lighting for the Vatican Necropolis and Memoria Apostolica in St. Peter’s – Rome. - Realization carried out in collaboration with Studio Led, Milan. - Customer: So.l.e. – ENEL Group

1998 Concept and General Plan of the landscape and architectural lighting for the

Pompeii archaeological area.

- Customer: ENEL - Luce per l’arte (Light for Art)

240

Licia Galizia, born in Teramo in 1966, lives and works in Rome and Lâ&#x20AC;&#x2122;Aquila.

Some of her latest exhibitions: Interferenze, music and sculpture with composer P. Marchettini, Fastweb S.p.a., Rome, 2004.

StudioI su volumi adattivi, art sound installation created with composer Michelangelo Lupone, Goethe Institut, ArteScienza, Rome, 2006. Invito a Y Vema, Tenth Biennial of Architecture, Italian Pavilion, Venice, 2006.

Costruttivo aggettante, Livio Nardi Galerie, Nurimberg, 2007. Musica in Forma, sound art installation created with composer Michelangelo Lupone, Istituto Italiano di Cultura, Belgrade, 2008. Experimenta, in the New Farnesina Collection at the Office of the Minister of Foreign Affairs, Rome, 2008.

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ICIA GALIZIA 242

Protagonist in the ’70h of the international architectural mouvement and debate with the “Group Labyrinth“, Giuseppe Marinelli was published in the mean magazines in Italy and in the Europe like Casabella Domus Architecture d’Haujourd’hui and Space Design in Japan. Assistant at the beginning in Faculty of Architecture and professor in the School of Communication of Lazio Region, G.M. since 1985 is professor of Basic Design in ISIA ROMA DESIGN, and later in Metaproject Design at Master Level. He is also the Vice director of the school since 1996 and member of Academic Council. As expert in design and formation, he is hardly involved in the planning and scientific organisation of the vision of the school through the statements of Design of the Systems into his faculty. G.M. won awards about artistic research, project in the museums field, and about renovation in the urban wasted space and places. Writher, artist, and cultural organiser, his work goes currently about the evolution of relationship between Architecture and Design in the Communication’s society. His professional specialisation is about museums: planning, concept, interiors design and creative exhibits. He has realized several museums in Italy in which he did his work with the most innovating professionals specialist in Italy currently working on the RAI 1 - state television channel. He is often invited in international conferences or lessons around the Europe and to teach in university masters.

243

MARINE

GIUSEPPE ELLI DE MARCO 244

Jean-Pierre CLARAC, born in Pamiers (Ariège) in 1948, comes from a family of nurserymen installed at the foot of the Pyrenees ariégeoises, past five generations.

After classical studies, he entered the Ecole Nationale Supérieure d’Horticulture de Versailles, to learn the art of gardens and especially the development of open spaces. (1969-1972).

On leaving school, he joined the National Center for the Study of Landscape, to confront, across the Territory, landscape sensitivity to the socio-economic transformation of territories. (1973-1974)

The private practice is the usual way to access public contracts. Installed as an associate in Paris, he plans in MACON, VITROLLES, VALBONNE, ORLEANS and new towns of MARNE-LA-VALLEE and ETANG DE BERRE (1975-1980)

In 1980, the project “SOPHIA-ANTIPOLIS” started to be built and Jean-Pierre CLARAC won two consulting assignments in the Provence-Alpes-Cote d’Azur region.

245

From 1980 to 1985, as an urbanist for the village of VALBONNE, he designs the master plan, the “transplant” project and the develpment project la Vignasse.

In 1988, Jean-Pierre CLARAC is invited by Michel CORAJOUD to present his work at the Ecole Nationale du Paysage. Following the conference, he is invited to conduct in a duet with Gilles VEXLARD the workshop studios “TERRITORY” in the 3rd year.

At that time, the city of Marseille begins to be aware of the poor condition of some of its social housing neighborhoods, and the SCIC entrusts the Atelier CLARAC to conduct the requalification of two important complexes:

- la cité de LA VISTE

- la cité PICON-BUSSERINE

The amount of investments was important: 25 million francs (3,8 M€), and the purpose was to transform the 750 residential units complexes into a more private looking kind of a neighborhood, what is called today said today “résidentialisation”. Both projects were an opportunity to reshape our practice in order to follow the on-going transformations of these difficult neighborhoods. 246

Key achievements and urban studies 2008 – St PAUL en Forêt (83) – Domaine Grime, Extension urbaine: création d’un éco quartier 2008- Cap d’ANTIBES (06) Hôtel du Cap Eden Roc, requalification de la pinède, extension de la plage de la piscine 2006 – LE VAL (83) extension urbaine 2005/2008 – SALON de PROVENCE (13), Requalification et extension de la ZAC de la Gandonne 2004 - CAHORS (46), ZAC de LABERAUDIE, 2004 - AJACCIO (2A), Plan Local d’urbanisme, 3003 – PAMIERS (09) Cimetière paysager 2003 - ILE de la REUNION, Elaboration du projet d’agglomération du Territoire de la Côte Ouest, 2003 - BASSENS LORMONT CENON et FLOIRAC (33) Parc des Coteaux de Garonne, plan directeur d’aménagement 2000/2003 - ZAC de l’Aéroparc de BELFORT/FONTAINE (90), 2000- AVIGNON (84) Etude Paysagère du bassin de vie d’Avignon 1999 – NICE (06), Tramway 1997 – NICE (06),*-Etude opérationelle quartier St Augustin– Programme 50 quartiers HLM 1994 VENCE (06) Place du Grand Jardin 1993/1994 - NICE (06), Plan guide de la plaine du Var 1988/1994 - MARSEILLE (13) Réhabilitation des espaces extérieurs de la cité Picon Busserine 1987/1990 - MARSEILLE (13) Réhabilitation des espaces extérieurs de la cité La Viste 1985/1990 - CANNES La BOCCA (06) CANNES La BOCCA (06) Réhabilitation des espaces extérieurs des quartiers Ranguin I et II Landscape Architect - Adviser for the préfet (a local representative of the central authority) Depuis 2007 : Paysagiste-Conseil du Département Seine et Marne 2001-2006 : Paysagiste-Conseil du département de la GUYANE auprès de la D.D.E et de la DIREN 1994 -2000 : Paysagiste-Conseil du département de la GIRONDE 1995 -1997 : Paysagiste-Conseil du département du TARN et GARONNE

247

Landscape Architect Adviser of the State Depuis 2007 : Paysagiste-Conseil du Département Seine et Marne 2001-2006 : Paysagiste-Conseil du département de la GUYANE auprès de la D.D.E et de la DIREN 1994 -2000 : Paysagiste-Conseil du département de la GIRONDE 1995 -1997 : Paysagiste-Conseil du département du TARN et GARONNE

248

JEAN PIERRE C 249

CLARAC

250

ALEKSANDAR K 251

KUJUČEV

252

DRAGANA OGNJ 253

JENOVIĆ

254

GORAN MARKOV 255

VIĆ

256

BRANKO PAV 257

VIÄ&#x2020;

Branko Pavic graduated painting and graphic arts. He is a professor at the Faculty of Architecture in Belgrade. He has had numerous independent and group exhibitions, art workshops and has participated in various projects in the area of fine arts, architecture and design. Bogdanka Cabak is a doctor and a graduated graphic artist. For many years she has been organizing the Art Workshop in the Home for Adults with Disabilities. Dusan Rajic is a senior undergraduate in architecture in Belgrade. Since 2003 he has participated in several group exhibitions and around dozen workshops in Serbia and Europe. In 2006/07 he worked as a demonstrator at the Faculty of Architecture in Belgrade.

258

Born in Pančevo on June 20th, 1959. Graduated from the Department of Italian Language and Literature of the Faculty of Philology in Belgrade in 1984. Graduated from the Department of Sculpture of the Faculty of Fine Arts in Belgrade in 1990, in the class of Professor Jovan Kratohvil. Completed his postgraduate studies at the Department of Sculpture of the Faculty of Fine Arts in Belgrade in 1992, in the class of Professor Slavoljub Caja Radojčić. Went to Paris in 2000 for advanced professional training. Member of the Association of Fine Artists of Serbia since 1990. Recipient of the October Prize of the city of Pančevo for 1997. Lives and works in Pančevo and Belgrade.

259

DRAGAN

JELENKOVIĆ 260