History and Futureof the Heart of Torino
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Torino City Story
Torino City Story CASEreport 106: May 2016 Anne Power Contents Figures ............................................................................................................................................................. 3 Boxes ............................................................................................................................................................... 3 About LSE Housing and Communities ........................................................................................................ 4 Foreword and acknowledgements ............................................................................................................. 4 1. Introduction ............................................................................................................................................ 5 2. History in brief ........................................................................................................................................ 7 3. The first industrial revolution and the birth of Fiat ................................................................................ 9 4. World War Two ....................................................................................................................................11 Post-war recovery .....................................................................................................................................11 5. Industrial and social strife ....................................................................................................................14 -
IOA 34-1A11-0209
ATLAS OF WORLD INTERIOR DESIGN ATLAS OF WORLD INTERIOR DESIGN Markus Sebastian Braun | Michelle Galindo (ed.) The Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographical information can be found on the Internet at http://dnb.ddb.de ISBN 978-3-03768-061-2 © 2011 by Braun Publishing AG www.braun-publishing.ch The work is copyright protected. Any use outside of the close boundaries of the copyright law, which has not been granted permission by the publisher, is unauthor-ized and liable for prosecution. This espe- cially applies to duplications, translations, microfilming, and any saving or processing in electronic systems. 1st edition 2011 Project coordination: Jennifer Kozak, Manuela Roth English text editing: Judith Vonberg Layout: Michelle Galindo Graphic concept: Michaela Prinz All of the information in this volume has been compiled to the best of the editors’ knowledge. It is based on the information provided to the publisher by the architects‘ and designers‘ offices and excludes any liability. The publisher assumes no responsibility for its accuracy or completeness as well as copyright discrepancies and refers to the specified sources (architects’ and designers’ offices). All rights to the IMPRINT photographs are property of the photographer (please refer to the picture). k k page 009 Architecture) | Architonic Lounge | Cologne | 88 k Karim Rashid| The Deutsche Rome | 180 Firouz Galdo / Officina del Disegno and Michele De Lucchi / aMDL | Zurich | 256 k Pia M. Schmid | Kaufleuten Festsaal -
Architecture on Display: on the History of the Venice Biennale of Architecture
archITECTURE ON DIspLAY: ON THE HISTORY OF THE VENICE BIENNALE OF archITECTURE Aaron Levy and William Menking in conversation with: Vittorio Gregotti Paolo Portoghesi Francesco Dal Co Hans Hollein Massimiliano Fuksas Deyan Sudjic Kurt W Forster Richard Burdett Aaron Betsky Kazuyo Sejima Paolo Baratta archITECTUraL assOCIATION LONDON ArchITECTURE ON DIspLAY Architecture on Display: On the History of the Venice Biennale of Architecture ARCHITECTURAL ASSOCIATION LONDON Contents 7 Preface by Brett Steele 11 Introduction by Aaron Levy Interviews 21 Vittorio Gregotti 35 Paolo Portoghesi 49 Francesco Dal Co 65 Hans Hollein 79 Massimiliano Fuksas 93 Deyan Sudjic 105 Kurt W Forster 127 Richard Burdett 141 Aaron Betsky 165 Kazuyo Sejima 181 Paolo Baratta 203 Afterword by William Menking 5 Preface Brett Steele The Venice Biennale of Architecture is an integral part of contemporary architectural culture. And not only for its arrival, like clockwork, every 730 days (every other August) as the rolling index of curatorial (much more than material, social or spatial) instincts within the world of architecture. The biennale’s importance today lies in its vital dual presence as both register and infrastructure, recording the impulses that guide not only architec- ture but also the increasingly international audienc- es created by (and so often today, nearly subservient to) contemporary architectures of display. As the title of this elegant book suggests, ‘architecture on display’ is indeed the larger cultural condition serving as context for the popular success and 30- year evolution of this remarkable event. To look past its most prosaic features as an architectural gathering measured by crowd size and exhibitor prowess, the biennale has become something much more than merely a regularly scheduled (if at times unpredictably organised) survey of architectural experimentation: it is now the key global embodiment of the curatorial bias of not only contemporary culture but also architectural life, or at least of how we imagine, represent and display that life. -
Torino Olympic Winter Games Official Report Volume
Rapporto di Sostenibilità_2006 Sustainability Report_2006 XX Giochi Olimpici invernali -XX Olympic Winter Games Torino 2006 Il Rapporto di Sostenibilità_2006 è un progetto della Direzione Ambiente del Comitato per l'Organizzazione dei XX Giochi Olimpici Invernali Torino 2006, Benedetta Ciampi, Giuseppe Feola, Paolo Revellino (Responsabile di Progetto). Il Documento è stato realizzato in collaborazione con l'Istituto dì Economìa e Politica dell'Energia e dell'Ambiente dell'Università Commerciale Luigi Bocconi ed ERM Italia. ©Torino 2006. Non è ammessa alcuna riproduzione parziale della seguente pubblicazione, salvo approvazione per iscritto del TOROC. Tutti i diritti riservati. Novembre 2006. The Susta inability Report__2006 is a project by the Environment Department of the Organising Committee for the XX Olympic Winter Games Torino 2006. Benedetta Ciampi, Giuseppe Feola, Paolo Revellino (Project Manager). The Document has been realised with the support of the "Istituto di Economia e Politica dell' Energia e dell'Ambiente dell'Università Commerciale Luigi Bocconi " and ERM Italia. ©Torino 2006. No part of this publication may be reproduced in any form without prior-written permission of TOROC . All rights reserved. Novembre 2006. La versione stampata di questo prodotto è stata realizzata su carta Cyclus, certificata Ecolabel (licenza DK/11/1). Cyclus è una carta realizzata impiegando interamente fibre riciclate (100% Riciclato). Nulla di ciò che viene utilizzato nel processo produttivo viene eliminato e anche gii scarti provenienti dalla lavorazione sono a loro volta riutilizzati per la combustione, la produzione di fertilizzanti e di materiali per l'edilizia. La carta Cyclus è sbiancata senza uso di sbiancanti ottici e cloro. The printed version of this product has been realised on Cyclus paper, Ecolabel (licence DK/11/1) certified. -
Bumble Bees of the Susa Valley (Hymenoptera Apidae)
Bulletin of Insectology 63 (1): 137-152, 2010 ISSN 1721-8861 Bumble bees of the Susa Valley (Hymenoptera Apidae) Aulo MANINO, Augusto PATETTA, Giulia BOGLIETTI, Marco PORPORATO Di.Va.P.R.A. - Entomologia e Zoologia applicate all’Ambiente “Carlo Vidano”, Università di Torino, Grugliasco, Italy Abstract A survey of bumble bees (Bombus Latreille) of the Susa Valley was conducted at 124 locations between 340 and 3,130 m a.s.l. representative of the whole territory, which lies within the Cottian Central Alps, the Northern Cottian Alps, and the South-eastern Graian Alps. Altogether 1,102 specimens were collected and determined (180 queens, 227 males, and 695 workers) belonging to 30 species - two of which are represented by two subspecies - which account for 70% of those known in Italy, demonstrating the particular value of the area examined with regard to environmental quality and biodiversity. Bombus soroeensis (F.), Bombus me- somelas Gerstaecker, Bombus ruderarius (Mueller), Bombus monticola Smith, Bombus pratorum (L.), Bombus lucorum (L.), Bombus terrestris (L.), and Bombus lapidarius (L.) can be considered predominant, each one representing more than 5% of the collected specimens, 12 species are rather common (1-5% of specimens) and the remaining nine rare (less than 1%). A list of col- lected specimens with collection localities and dates is provided. To illustrate more clearly the altitudinal distribution of the dif- ferent species, the capture locations were grouped by altitude. 83.5% of the samples is also provided with data on the plant on which they were collected, comprising a total of 52 plant genera within 20 plant families. -
MUSEOLOGY and EGYPTIAN MATERIAL CULTURE MUSEO EGIZIO, TURIN (ITALY) Course ID: ARCH 365AD June 23 ‒ July 29, 2018 FIELD SCHOOL DIRECTOR: Dr
MUSEOLOGY AND EGYPTIAN MATERIAL CULTURE MUSEO EGIZIO, TURIN (ITALY) Course ID: ARCH 365AD June 23 ‒ July 29, 2018 FIELD SCHOOL DIRECTOR: Dr. Hans Barnard, MD PhD, Cotsen Institute of Archaeology at UCLA ([email protected]) INTRODUCTION The collection of ancient Egyptian artifacts kept in the Museo Egizio in Turin (Piedmont, Italy) is among the most important in the world. In 1824, King Charles Felix (1765‒1831) of the House of Savoy—that was ruling Savoy, Piedmont, Aosta and Sardinia from Turin at the time—acquired the collection accumulated by Bernardino Drovetti (1776‒1852), the French consul to Egypt. Once in Turin it was housed in a large building in the center of town where it resides until today. The collection was expanded with the purchase of more than 1200 objects gathered by Giuseppe Sossio, in 1833, and the more than 35,000 objects excavated and purchased by Ernesto Schiaparelli (1856‒1928) between 1900 and 1920. In the 1960s, the Nubian Temple of Ellesiya was presented by the Egyptian to the Italian government—to recognize their assistance during the UNESCO campaign to save the Nubian monuments—and rebuilt in the Museo Egizio. Next to this temple, important constituents of the collection include the Old Kingdom Tomb of the Unknown, the New Kingdom Tomb of Kha and Merit, several complete copies of the Book of the Dead, the Turin List of Kings, and the Turin Papyrus Map. The Fondazione Museo delle Antichità Egizie was established in 2004 as the result of an innovative configuration blending private and public funding, which is an experiment in museum management in Italy. -
Doriana Massimiliano Fuksas
DORIANA MASSIMILIANO FUKSAS Lo Studio Fuksas, guidato da Massimiliano e Doriana Fuksas, è uno studio di architettura internazionale con sedi a Roma, Parigi, Shenzhen. Di origini lituane, Massimiliano Fuksas nasce a Roma nel 1944. Consegue la laurea in Architettura presso l’Università “La Sapienza” di Roma nel 1969. E’tra i principali protagonisti della scena architettonica contemporanea sin dagli anni ‘80. E’ stato Visiting Professor presso numerose università, tra le quali: la Columbia University di New York, l’École Spéciale d’Architecture di Parigi, the Akademie der Bildenden Künste di Vienna, the Staatliche Akademie der Bildenden Künste di Stoccarda.Dal 1998 al 2000 è stato Direttore della “VII Mostra Internazionale di Architettura di Venezia”: “Less Aesthetics, More Ethics”. Dal 2000 è autore della rubrica di architettura, fondata da Bruno Zevi, del settimanale italiano “L’Espresso”. Doriana Fuksas nasce a Roma dove consegue la laurea in Storia dell’Architettura Moderna e Contemporanea presso l’Università “La Sapienza” di Roma nel 1979. Laureata in Architettura all’ESA -ÉcoleSpéciale d’Architecture- di Parigi, Francia. Dal 1985 collabora con Massimiliano Fuksas e dal 1997 è responsabile di “Fuksas Design”. Ha ricevuto diversi premi e riconoscimentiinternazionali. Nel 2013 è stata insignita dell’onorificenza di “Commandeur de l’Ordre des Arts et des Lettres de la République Française” e nel 2002 di “Officier de l’Ordre des Arts et des Lettres de la République Française”. Studio Fuksas, led by Massimiliano and Doriana Fuksas, is an international architectural practice with offices in Rome, Paris, Shenzhen. Of Lithuanian descent, Massimiliano Fuksas was born in Rome in 1944. He graduated in Architecture from the University of Rome “La Sapienza” in 1969. -
The Winter Olympics Duce Barolo and Barbaresco
INSIDE: Truffle Hunting 2 Score Event Tickets 4 Tourin’ Turin 6 Native Son: Nutella 7 Three Vineyards to Visit 8 PIEDMONT Italian Government Tourism Board Tourism Italian Government Turin’s Piazza San Carlo is Wine Country SPECIAL REPORT:TURIN PIEDMONT & ith a string of impressive vintages starting in 1995, Wthe winemakers of dream of Piedmont have experienced something of a renaissance. This has been true, not just for its favorite sons — Barolo and Barbaresco — but for many of the region’s wines, 70% of which are made from red grapes. Piedmont’s vineyards are concentrated in the Langhe and Monferrato hills. More than half of the 170,000 acres of vines have earned Italy’s prized D.O.C. (Denominazione di ITALYVolume 4, Issue 8 www.dreamofitaly.com November 2005 Origine Controllata) label, a guarantee of a place name and production for- Ready, Set, Go to mula, awarded by the government. Some 800 Piedmontese vintners pro- the Winter Olympics duce Barolo and Barbaresco. Both are made from the highly tannic nebbiolo grape, which reportedly gets ess than three months remain already suffering from a lack of luxury its name from the fog (la nebbia) that before the opening ceremony of hotel rooms — there are just three often covers the hills here. The loca- L the 20th Olympic Winter Games 5-star and fourteen 4-star properties. tion where the grape is grown (weath- in Torino (February 10 to (See our review of Turin’s er, soil, landscape) determines what 26, 2006). If you’re interest- 4-star Grand Hotel Sitea on kind of wine it will become. -
A Brief History of Turin-Lyon High-Speed Railway 2
1 Paola Manfredi, Cristina Massarente, Franck Violet, Michel Cannarsa, Caterina Mazza and Valeria Ferraris A BRIEF HISTORY OF TURIN-LYON HIGH-SPEED RAILWAY 2 Paola Manfredi, Cristina Massarente, Franck Violet, Michel Cannarsa, Caterina Mazza and Valeria Ferraris1 A brief history of Turin-Lyon high-speed railway Table of Content 1. Introduction 2. The origin of the project and the stakeholders involved 3. The history of the project 4. Criminal infiltration and high-speed railway in the media 5. References 1. Introduction The history of the project of the New Railway Line Turin-Lyon, shortened as NLTL and currently known as high-speed train Turin- Lyon (named TAV Turin-Lyon), saw a lot of stakeholders that interacted, exchanged, conflicted and overlapped. The first part of this paper aims at understanding the evolution/origin of the project in order to clarify the role of the Italian and French stakeholders involved. Then, the paper continues with the description of the main steps of the history of TAV project. In these steps will be underlined the moments in which some stakeholders have been involved in incidents of lawlessness and corruption. 2. The origin of the project and stakeholders involved 2.1 The Italian stakeholders The project for the TAV Turin-Lyon involved many Italian stakeholders, institutional and not. First of all in 1989 the Associazione Tecnocity2 presented in a public meeting at the Fondazione Agnelli the project of a high-speed railway line for passengers between France and Italy. The project foresees the construction of a transalpine tunnel 50 km long as a part of the future railway line between East and West Europe (Number Five Corridor3). -
POLITECNICO DI TORINO Repository ISTITUZIONALE
POLITECNICO DI TORINO Repository ISTITUZIONALE Digital Segusio: from models generation to urban reconstruction Original Digital Segusio: from models generation to urban reconstruction / Spanò, Antonia; Chiabrando, Filiberto; Dezzani, Livio; Prencipe, Antonio. - In: VIRTUAL ARCHAEOLOGY REVIEW. - ISSN 1989-9947. - STAMPA. - 7:15(2016), pp. 87-97. Availability: This version is available at: 11583/2658716 since: 2016-12-03T13:14:11Z Publisher: Spanish Society of Virtual Archaeology Published DOI:10.4995/var.2016.5874 Terms of use: openAccess This article is made available under terms and conditions as specified in the corresponding bibliographic description in the repository Publisher copyright (Article begins on next page) 04 August 2020 Virtual Archaeology Review, 7(15): 87-97, 2016 http://dx.doi.org/10.4995/var.2016.5874 © UPV, SEAV, 2015 Received: June 5, 2016 Accepted: September 28, 2016 DIGITAL SEGUSIO: FROM MODELS GENERATION TO URBAN RECONSTRUCTION Antonia Spanòa,*, Filiberto Chiabrandoa, Livio Dezzanib, Antonio Prencipec a Department Architecture and Design, Politecnico di Torino, viale Mattioli 39, 10125 Torino, Italy. [email protected]; [email protected] b “Immagine e Territorio”, Corso Stati Uniti 27, 10129 Torino, Italy. [email protected] c Pworx LAB, Via Monginevro 7, 10050 Sant’Antonino di Susa, Italy. [email protected] Abstract: The reconstructive study of the urban arrangement of Susa in the 4th century arose from the intention to exploit some resources derived from local studies, and survey activities, fulfilled by innovative methods from which the modelling of architectural heritage (AH) and virtual reconstructions are derived. The digital Segusio presented in this paper is the result of intensive discussion and exchange of data and information during the urban landscape documentation activities, and due to the technology of virtual model generation, making it possible to recreate the charm of an ancient landscape. -
04 August 2021 Aperto
AperTO - Archivio Istituzionale Open Access dell'Università di Torino Shops, food, regeneration and a controversial signature building in Turin, Italy This is the author's manuscript Original Citation: Availability: This version is available http://hdl.handle.net/2318/1793275 since 2021-07-07T14:11:16Z Published version: DOI:10.1080/09654313.2021.1903399 Terms of use: Open Access Anyone can freely access the full text of works made available as "Open Access". Works made available under a Creative Commons license can be used according to the terms and conditions of said license. Use of all other works requires consent of the right holder (author or publisher) if not exempted from copyright protection by the applicable law. (Article begins on next page) 29 September 2021 SHOPS, FOOD, REGENERATION AND A CONTROVERSIAL SIGNATURE BUILDING IN TURIN, ITALY Alberto Vanolo* Manuscript; final version published as: Vanolo A. (2021), “Shops, food, regeneration and a controversial signature building in Turin, Italy”, European Planning Studies, DOI: 10.1080/09654313.2021.1903399 https://www.tandfonline.com/eprint/JVMEGFKYJJUAMQGRIH8H/full?target=10.1080/09654313.2021.1903399 Abstract The paper focuses on the case of PalaFuksas, a signature building inaugurated in 2005 and located in the central (but marginalized) area of Porta Palazzo in Turin, Italy. Originally designed to host clothing shops, the building had a history of failures and reconversions, and it is currently mainly used as a branded food hall. By mixing archive and qualitative research, the article focuses on the evolution amongst local stakeholders, of different ‘expectations’, intended as heterogeneous and not fully conscious and rational sets of ideas, imaginaries, forecasts. -
60949-MARTINI-150-Stories-Original
MARTINI® 150 Stories MARTINI® 150 STOriES 2 MARTINI® 150 Stories / Contents CONTENT Introduction 04 Founders 05 The Company 14 Drinks & Terrazza 63 Art & Advertising 87 Film & Music 121 Motorsport 142 Sport 157 3 MARTINI® 150 Stories / Introduction INTR ODUCTION The MARTINI® 150 Stories celebrate 150 Years of culture, society, art and commercial success. However, they are much more than just history. Behind the photographs, letters, bottles and posters there is an inspirational story to be discovered – life is what you make it. Since its creation in 1863, MARTINI® has consistently made brave choices and stepped into the unknown. As a direct consequence, the brand has grown, prospered and enjoyed every chapter of its journey. 150 Stories is a new kind of timeline, telling the MARTINI® story through the lens of LUCK IS AN ATTITUDE™ and tracing moments of creativity, year in, year out. Each story embodies the kind of playfulness, style, authenticity and courage we all aspire to. LUCK IS AN ATTITUDE™ is a way of being. And it’s as relevant now as it was then. 4 MARTINI® 150 Stories / Founders FSOUNDER 5 MARTINI® 150 Stories / Founders 19 2 2 GO BEYOND YOUR LIMITS Japan is a long way from Italy. Nonetheless, in 1922, the Emperor Yoshihito, known as Taisho, awarded Martini & Rossi the title of ‘Suppliers to the Imperial House of Japan’. The first cases of vermouth had been delivered to Yokohama in 1871 and the custom of the Italian aperitivo spread quickly. Many importers sought sole agency, but it was not yet possible to control sales at the large international harbours.