DOCSLIB.ORG

Antologica Anthology 2003-2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1 ANTOLOGICA ANTHOLOGY 2003-2017 a cura di edited by Elena Pontiggia Marsilio Presidente della Provincia di Catanzaro Coordinamento generale Si ringraziano President of the Province of Catanzaro General coordination Our thanks to Enzo Bruno Fondazione Rocco Guglielmo Direttore Responsabile coordinamento ANTOLOGICA ANTHOLOGY Director Coordination supervisor 2003-2017 Rosetta Alberto Teresa Guglielmo Giuliana Guglielmo Direttore artistico Artistic director Segreteria organizzativa Catanzaro Rocco Guglielmo Organisational office Museo MARCA Maria Elena Zagari 13 maggio – 20 agosto 2018 Responsabile tecnico e logistica Assunta Ciambrone 13 May – 20 August 2018 Technical and logistics supervisor Antonio Sabatino Servizio di vigilanza a cura di Security service Un particolare ringraziamento a curated by in collaborazione con Comitato scientifico G.I.S.A. Catanzaro Our particular thanks to Elena Pontiggia in collaboration with Technical committee Rocco Guglielmo Servizio di accoglienza e didattica Emanuela Baccaro Eugenio Attanasio Reception and teaching service Giuseppe Lezzi Michele Bonuomo Associazione culturale DI.CO. Catanzaro Teodolinda Coltellaro Michele Bonuomo Giorgio de Finis Ufficio stampa Marco Meneguzzo Press office Si ringraziano tutti i prestatori delle opere Domenico Piraina CLP Communication che hanno reso possibile la realizzazione Sabatino Nicola Ventura della mostra. Armando Vitale Our thanks to all the lenders of the works who have made possible the organisation of this show. Si ringraziano inoltre We would also thank Eraldo Bertona, Stefano Bonetti, Piero De Luca, Paolo D’Errico, Stefano Gentile, Francesca Habe, Stefano Grandi, Rossella Martignoni, Clara Pagnacco, Ieva Petersone Il Museo di Arte contemporanea della Provincia di Catanzaro The Museum of Contemporary Art of the Province ospita oltre trenta opere di grandi dimensioni del pittore Marco Petrus, of Catanzaro is hosting more than thirty large-scale works by the painter Marco Petrus, an artist well- artista molto noto per le sue visioni urbane capaci di proiettare known for city visions that creatively reveal the in maniera creativa la memoria e l’anima dei luoghi. memory and soul of a place. Basta ricordare l’esposizione Matrici a Napoli: protagoniste le Vele It is sufficient to remember the “Matrice” exhibition di Scampia, edifici costruiti negli anni sessanta sull’onda in Naples: the protagonists of the works were the Vele di Scampia, buildings from the 1960s influenced del Modernismo internazionale, divenuti poi cuore pulsante by international Modernism and that became the della malavita partenopea. Attraverso le opere di Petrus abbiamo visto beating heart of Neapolitan crime. Through his work e riletto da inquadrature particolari palazzi e architetture di Milano, we have been able to see and analyse particular Venezia, Londra, Shanghai, Taipei, giusto per citare qualche esempio buildings in Milan, Venice, London, Shanghai, and Taipei, to name but a few of the cities where he has di metropoli in cui ha esposto in sedi prestigiose. also exhibited in prestigious venues. Works Opere e visioni che sbarcano al MARCA di Catanzaro grazie alla and visions that have arrived in Catanzaro thanks spinta entusiasta e lungimirante della Fondazione Rocco Guglielmo to the enthusiasm and long-sightedness of the che oramai da tre anni cura la direzione artistica del museo. Fondazione Rocco Guglielmo which, for some three years now, has curated the artistic direction of the Le oltre trenta opere in mostra fino al 20 agosto provengono per museum. The more than thirty works on show until la maggior parte da collezioni private, alcune del ciclo Dalle belle città 20 August mostly come from private collections, del 2012 sono inedite e vengono esposte per la prima volta in questa and some from the 2012 Dalle belle città series occasione. are being shown for the first time. The works by Petrus enrich the long list of I lavori di Petrus arricchiscono il lungo elenco di opere straordinarie extraordinary works that in these years have che in questi anni hanno valorizzato il MARCA consolidando enhanced MARCA and consolidated its position as la sua posizione tra le realtà più attive del sud Italia e dell’intera one of the most active centres of the south of Italy nazione e contribuendo, sempre di più, a fare di Catanzaro, and, indeed, of the whole nation. They have also increasingly contributed to making Catanzaro, the capoluogo della regione Calabria, un punto di riferimento culturale. Regional Capital of Calabria, a cultural reference Il MARCA si conferma un luogo di arte e cultura da vivere in maniera point. non convenzionale, aperto a esperienze diversificate capaci di attirare MARCA has confirmed itself to be a venue for art un pubblico vasto e variegato stimolando curiosità e riflessioni. and culture to be experienced in an unconventional manner, one that is receptive to various experiences Ammirando le linee e le geometrie che si stagliano nello spazio capable of attracting a wide and variegated public, intrecciando luce e colori, scopriremo una forma nuova di amore as well as stimulating interest and thought. per l’architettura e tutto quello che il progetto di Marco Petrus By admiring the lines and geometries that punctuate racchiude. the space with their interweaving of light and colour, we can discover a new form of love for architecture and all that Marco Petrus’s project embraces. enzo bruno Presidente della Provincia di Catanzaro ENZO BRUNO President of the Province of Catanzaro Le celebrazioni in occasione dei dieci anni di attività del MARCA The celebrations for the ten years’ activity of the di ogni giorno: insegne, semafori, alberi, traffico, auto in sosta... these sharp, clean visions are disturbing because proseguono con la personale di una delle voci più interessanti MARCA museum continue with a solo show by one La terra è rimossa, il cielo sempre presente ma senza profondità something is missing: the elements of everyday life, of the most interesting exponents of contemporary the road signs, traffic lights, trees, traffic, parked della pittura contemporanea italiana, proponendo con la mostra e volutamente monocromo. Dalle finestre nessuno si affaccia. Italian painting: with Marco Petrus. Antologica cars… dal titolo Marco Petrus. Antologica 2003-2017, a cura di Elena 2003- 2017, curated by Elena Pontiggia, there can be Non ci sono passanti né abitanti; non ci sono albe né tramonti; The earth has been removed, the sky is always Pontiggia, una rassegna di lavori tra i più rappresentativi del percorso seen an overview of some of the most representative non ci sono stagioni, solo le sontuose prospettive e geometrie di Petrus. present but without depth, and is purposely dell’artista. works of Marcus Petrus. Edifici impilati, accavallati gli uni sugli altri, ritratti in diagonale, monochrome. No one looks from the windows. For more than twenty years the artist has re-worked There are no passersby, nor residents; there are Petrus da più di vent’anni lavora sulla rielaborazione delle architetture dal basso verso l’alto, che invitano a scrutare alla ricerca di altro, metropolitan architecture and the urban landscape, no dawns nor dusks; there are no seasons: only metropolitane e del paesaggio urbano, mantenendo uno stile facilmente maintaining a style that is easily recognisable in all desiderando di andare oltre. the sumptuous perspectives and geometries of Petrus. riconoscibile in tutte le sue opere. his works. Oltre quelle finestre sempre chiuse, alla volta di uno scorcio di cielo Stacked-up buildings, piled one on top of another, Dopo aver frequentato per un breve periodo la facoltà di architettura, After having briefly attended the faculty che nelle opere di Petrus si accende di luce, la stessa che dà forza painted diagonally, looking up from below, and that of architecture, he began to interest himself in the ask to be scrutinised in search of something else, comincia a interessarsi a quelli che sono i soggetti che lo attraggono e mistero alle sue opere. subjects that came to dominate his thoughts: first in the desire to go beyond them. Beyond those maggiormente, le città, a cui timidamente si avvicina, dapprima cities, which he approached almost timidly by ever-closed windows, aimed at a glimpse of sky that, immortalandone le vedute con scatti fotografici, per poi reinterpretarle portraying views of them firstly with photos, and then rocco guglielmo in Petrus’s work, is brightened by light, the same light sulla tela. reinterpreting them on canvas. Direttore Artistico Museo MARCA that gives strength and mystery to his works. For Petrus painting is an everyday need; he knows Per Petrus la pittura è un’esigenza quotidiana, la conosce bene it inside out, and this is to be seen in paintings ROCCO GUGLIELMO e lo dimostra con i suoi dipinti dove ritrae la monumentalità, in which he portrays the monumentality and beauty Artistic Director, MARCA museum la bellezza delle città e ancora quando le rappresenta nella loro solitudine of cities, and where he shows them in all their e nella loro natura più intima. solitude and in their most intimate nature. Space and cities are at the heart of all the works Lo spazio e la città sono al centro di tutte le opere di Petrus: scorci by Petrus: dizzying views, brilliant colours, and vertiginosi, colori brillanti, mobili geometrie. moving geometry. Milano, la città che meglio conosce, è quella che forse più di tutte Milan, the city that he knows best, is perhaps ha ricevuto la sua attenzione. the one that has most attracted his
Recommended publications
  • UCLA Electronic Theses and Dissertations

    UCLA Electronic Theses and Dissertations

    UCLA UCLA Electronic Theses and Dissertations Title Fillia's Futurism Writing, Politics, Gender and Art after the First World War Permalink https://escholarship.org/uc/item/2r47405v Author Baranello, Adriana Marie Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils.
  • CTBUH Technical Paper

    CTBUH Technical Paper

    CTBUH Technical Paper http://technicalpapers.ctbuh.org Subject: Other Paper Title: Talking Tall: The Global Impact of 9/11 Author(s): Klerks, J. Affiliation(s): CTBUH Publication Date: 2011 Original Publication: CTBUH Journal 2011 Issue III Paper Type: 1. Book chapter/Part chapter 2. Journal paper 3. Conference proceeding 4. Unpublished conference paper 5. Magazine article 6. Unpublished © Council on Tall Buildings and Urban Habitat/Author(s) CTBUH Journal International Journal on Tall Buildings and Urban Habitat Tall buildings: design, construction and operation | 2011 Issue III Special Edition World Trade Center: Ten Years On Inside Case Study: One World Trade Center, New York News and Events 36 Challenging Attitudes on 14 “While, in an era of supertall buildings, big of new development. The new World Trade Bridging over the tracks was certainly an Center Transportation Hub alone will occupy engineering challenge. “We used state-of-the- numbers are the norm, the numbers at One 74,300 square meters (800,000 square feet) to art methods of analysis in order to design one Codes and Safety serve 250,000 pedestrians every day. Broad of the primary shear walls that extends all the World Trade are truly staggering. But the real concourses (see Figure 2) will connect Tower way up the tower and is being transferred at One to the hub’s PATH services, 12 subway its base to clear the PATH train lines that are 02 This Issue story of One World Trade Center is the lines, the new Fulton Street Transit Center, the crossing it,” explains Yoram Eilon, vice Kenneth Lewis Nicholas Holt World Financial Center and Winter Garden, a president at WSP Cantor Seinuk, the structural innovative solutions sought for the ferry terminal, underground parking, and retail engineers for the project.
  • Conquista Totale Dell'enarmonismo Mediante

    Conquista Totale Dell'enarmonismo Mediante

    [49 ] LACERBA LUIGI RUSSOLO. CONQUISTA TOTALE DELL’ ENARMONISMO MEDIANTE GL’INTONARUMORI FUTURISTI. Dopo 1 introduzione nella musica del sistema tem­ dazioni darebbe quella che è la nostra scala cro­ matica. perato la parola Enarmonismo resta solo per indicare Ognuno vede quanto una pittura simile sarebbe li­ dei valori che non trovano più 1 loro corrispondenti mitata nei suoi mezzi e di quante sensazioni coloristiche nella realtà musicale. sarebbe diminuita. Eppure, l’attuale sistema musicale Infatti si chiama enarmonia la differenza tra un temperato si trova appunto nelle condizioni in cui si m i diesis e un f a e tra un si diesis e un do quando troverebbe la pittura a cui ho accennato. il sistema temperato, rendendo uguali tutti i semitoni, Il temperamento con la sua omofonia ha in certo ha tolto queste differenze e reso quindi omofone le due note. modo slega te le note, avendo tolto ad esse i più de­ licati legami che le possono unire e che sono rappre­ Ma purtroppo l'inconveniente portato dal sistema sentati da frazioni di tono più piccole dell’attuale se­ temperato non è solo nella parola. L ’aver diviso l'in­ mitono. tervallo d’ottava soltanto in 12 frazioni uguali tra loro Si crede che i Greci conoscessero e adottassero e l’aver naturalmente impostato su questa scala così * l’enarmonismo. E tuttavia molto incerto il parlare di temperata tutti gli strumenti, ha portato una conside­ sistemi musicali deducendoli da teorie complicate e in­ revole limitazione di numero nei suoni adoperabili e certe e non sapendo se o quanto queste teorie venis­ reso stranamente artificiali quelli stessi che si adoperano.
  • UNIVERSITY of CALIFORNIA Los Angeles Fillia's Futurism Writing

    UNIVERSITY of CALIFORNIA Los Angeles Fillia's Futurism Writing

    UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils. This led to a period of extreme left-wing communist-futurism. In the mid-1920s, following Marinetti’s lead, Fillia moved toward accommodation with the fascist regime. This shift to the right eventually even led to a phase ii dominated by Catholic mysticism, from which emerged his idiosyncratic and highly original futurist sacred art.
  • CRESC Working Paper Series

    CRESC Working Paper Series

    CRESC Working Paper Series Working Paper No. 105 Autistic Architecture: The Fall of the Icon and the Rise of the Serial Object of Architecture CRESC Working Papers Maria Kaika CRESC, The University of Manchester JULY 2011 For further information: Centre for Research on Socio-Cultural Change (CRESC) Faculty of Social Sciences, The Open University, Walton Hall, Milton Keynes, MK7 6AA, UK Tel: +44 (0)1908 654458 Fax: +44 (0)1908 654488 Email: [email protected] or [email protected] Web: UUwww.cresc.ac.uk 2 Autistic Architecture Autistic Architecture: The Fall of the Icon and the Rise of the Serial Object of Architecture Maria Kaika Abstract Over the last 30 years, a new generation of corporate architectural ‘icons’ have sprouted across the globe. These commissions are hailed as ‘iconic’ often even before they are erected, receive wide media attention, and have become the object of academic enquiry in architecture, geography, sociology and urban studies. However, as intellectual inquiry focuses on the proliferation of contemporary corporate ‘icons’, the question that Gottman (1966) posed back in 1966, i.e. whether, as the skyscraper spreads around the world it still has the same meaning and function as it had in the beginning, remains unanswered and becomes more relevant than ever. An analysis that links the proliferation of new to the banalisation of older corporate ‘icons’ is still to be undertaken.. In this contribution, I sketch an interpretative framework for interpreting this parallel process of ‘banalisation’ of old and proliferation of new ‘iconic’ corporate architecture as the Janus-faced manifestation of a qualitative shift in the relationship between capital and architecture.
  • UCLA Electronic Theses and Dissertations

    UCLA Electronic Theses and Dissertations

    UCLA UCLA Electronic Theses and Dissertations Title Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975 Permalink https://escholarship.org/uc/item/2kv6s20v Author Harris, Jessica Lynne Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Jessica Lynne Harris 2016 © Copyright by Jessica Lynne Harris 2016 ABSTRACT OF THE DISSERTATION Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975 by Jessica Lynne Harris Doctor of Philosophy in History University of California, Los Angeles, 2016 Professor Brenda Stevenson, Co-chair Professor Geoffre W. Symcox, Co-chair “Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975” examines the development and growth of a mass consumer-based society in Italy after the Second World War. Employing a gendered and transnational approach, the dissertation puts women at the center of the analysis by specifically focusing on American female consumer culture’s influence on Italian women’s lives from 1945-1975. This study, in contrast to existing literature on the topic, provides a more comprehensive understanding of the nature of the models and messages of American female consumer culture in Italy during this period, how they influenced Italian women, and the extent of this culture’s influence. Furthermore, the analysis of the intersection of the modern “American woman” (the white middle-class suburban American ii housewife), consumerism, and Italian female culture and identities provides new insight into the unique cultural relationship between the United States and Italy following the Second World War.
  • O Włoskiej Sztuce Futurystycznej Author

    O Włoskiej Sztuce Futurystycznej Author

    Title: Czas przyszły niedokonany : o włoskiej sztuce futurystycznej Author: Tadeusz Miczka Citation style: Miczka Tadeusz. (1988). Czas przyszły niedokonany : o włoskiej sztuce futurystycznej. Katowice : Wydawnictwo Uniwersytetu Śląskiego O WŁOSKIEJ SZTUCE FUTURYSTYCZNEJ Czas przyszły niedokonany O włoskiej sztuce futurystycznej PRACE NAUKOWE UNIWERSYTETU ŚLĄSKIEGO W KATOWICACH NR 984 Tadeusz Miczka Czas przyszły niedokonany O włoskiej sztuce futurystycznej Uniwersytet Śląski Katowice 1988 Redaktor serii: Kultura i Sztuka ELEONORA UDALSKA Recenzent JOZEF HEINSTEIN Spis treści Wprowadzenie Futurystyczne dialogi z czasem................................................. 7 Część pierwsza „Choroba na nowoczesność” — klucz do ideologii nowego wie- ku ....................................................................................................31 ROZDZIAŁ 1 Okolice przełomu . ........................................................................................ 31 ROZDZIAŁ 2 Wymiary futurystycznego dynamizmu.......................................................................38 ROZDZIAŁ 3 Perspektywy symultaniczności................................................................................... 56 Część druga Pasja i literatura................................................................................ 65 ROZDZIAŁ 1 Język (nie)okiełznany................................................................................................65 ROZDZIAŁ 2 Słowa na wolności......................................................................................................75
  • Comparing the Structural System of Some Contemporary High Rise Building Form

    Comparing the Structural System of Some Contemporary High Rise Building Form

    Comparing the structural system of some contemporary high rise building form Presented From Researcher : Aya Alsayed Abd EL-Tawab Graduate Researcher in Faculty of Engineering - Fayoum University Email:[email protected]. Study of vertical and horizontal expansion of Abstract buildings and development of large-scale Throughout history, human beings have built tall buildings. monumental structures such as temples, pyramids Research Methodology: and cathedrals to honour their gods. The research methodology was based on Today’s skyscrapers are monumental buildings theoretical and analytical Side: too, and are built as symbols of power, wealth and Theoretically The methodology of the study was prestige. based on a combination of different structural These buildings emerged as a response to the systems suitable for vertical expansion . rapidly growing urban population. Comparison between the different construction Architects’ creative approaches in their designs systems and the design of the buildings in high for tall buildings, the shortage and high cost of altitude urban land, the desire to prevent disorderly urban Analytically Study of some examples of high expansion, have driven the increase in the height buildings Identification of the elements of of buildings. comparison between the spaces of the various The Research Problem:The increase in the systems of the construction of towers such as: the height of buildings makes them vulnerable to possibilities of internal divisions and the opening wind and earthquake induced lateral loads. of spaces on some, , the heights of tower spaces occupancy comfort (serviceability) are also on all roles, the formation of the tower block, among the foremost design inputs . internal movement, spatial needs of services.
  • Silvia Micheli

    Silvia Micheli

    Proceedings of the Society of Architectural Historians, Australia and New Zealand 30, Open Papers presented to the 30th Annual Conference of the Society of Architectural Historians, Australia and New Zealand held on the Gold Coast, Queensland, Australia, July 2-5, 2013. http://www.griffith.edu.au/conference/sahanz-2013/ Silvia Micheli, “Architecture in a Foreign Language: How Italy has Recognized Foreign Architecture in the Last Twenty Years” in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 30, Open, edited by Alexandra Brown and Andrew Leach (Gold Coast, Qld: SAHANZ, 2013), vol. 2, p985-996. ISBN-10: 0-9876055-0-X ISBN-13: 978-0-9876055-0-4 Architecture in a Foreign Language How Italy has Recognized Foreign Architecture in the Last Twenty Years Silvia Micheli University of Queensland Italian architecture of the 1960s and 1970s, thanks to the remarkable design and theoretical contributions of the Tendenza group and the Radicali, soon become influential in the international scene. The intensity of this revolutionary intellectual activity started to wane at the beginning of the 1980s. The exhibition La Presenza del Passato curated by Paolo Portoghesi at the first Venice Biennale of Architecture held in 1980 and Manfredo Tafuri’s publication of the book Storia dell’architettura italiana 1944-1985, through different ideological assumptions, marked the inception of a structural crisis in architecture and opened new horizons for the discipline in Italy. In the last decade scholars have dedicated their studies to the recovery of Italian architectural history of the ‘’60s and ’70s. On the contrary, less attention has been paid to the development of Italian architecture in the following years.
  • As a Movie Set and Art Workshop. Now, Hive of Cultural Initiatives, It Is a Meeting Place with Bocce Courts and Even a Restaurant (Www

    As a Movie Set and Art Workshop. Now, Hive of Cultural Initiatives, It Is a Meeting Place with Bocce Courts and Even a Restaurant (Www

    Ludovica Casellati Managing Editor E-book Milan on Bike Concept and Design Ludovica Casellati Editorial Coordination Marialuisa Bonivento Project Database Giordano Roverato Authors and Photographers Marialuisa Bonivento itinerary: Gianfranco Rocculi itinerary: Giordano Roverato itinerary: Alessandro Avalli itinerary: Maps Editor Luca Marin Graphic Design Alberto Fardin Dealership Ads Green Life srl e Clear Channel Copyright Green Life srl All rights to this work are reserved under current law. All rights to the databases are reserved. The translation, adaptation, processing or reproduction by whatever means (including electronic retrieval systems), whether total or partial, of the material contained in this site are reserved for all countries. The reproduction, publication and distribution, total or partial, of the material contained in this site, including the framing, analogue reproduction and, in general, the digital storage are expressly prohibited without written permission. 4 INDICE pag 05 pag 27 pag 52 pag 72 pag 87 pag 105 5 INDEX Crystal Milan The Crystal Milan runs the new districts of recent construction that put Milan ahead together with the big world capital cities. The bicycle route to discover the futuristic contemporary skyscrapers starts at the Pirelli skyscraper and winds along the new Milan until the Palazzo Lombardia skyscraper through places that will make you ride with your head upwards. 5 km DOWNLOAD GPS TRACK 8 Crystal Milan A bit of history Milan is found at the centre of rising in the name of technological the Po Valley and surrounded achievements, such as the electric by mountains that are perceived elevator and the introduction within nearby distance during clear of structures with steel beams windy days.
  • The Graphic Work of Umberto Boccioni by Joshua C

    The Graphic Work of Umberto Boccioni by Joshua C

    The graphic work of Umberto Boccioni By Joshua C. Taylor Author Taylor, Joshua C. (Joshua Charles), 1917-1981 Date 1961 Publisher The Museum of Modern Art: Distributed by Doubleday Exhibition URL www.moma.org/calendar/exhibitions/3414 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Wmm, vym/tora THEGRAPHIC WORK OF UMBERTO BOCCIONI byJoshua C. Taylor TheMuseum of ModernArt, NewYork THE t-" :CU_ OF F' Received: THEGRAPHIC WORK OF UMBERTO BOCCIONI byJoshua C. Taylor TheMuseum of ModernArt, New York Distributedby Doubleday& Company,Inc., GardenCity, NewYork /*? "y (s> ^ . / M«fl TRUSTEES OF THE MUSEUM OF MODERN ART William A. M. Burden, Chairman of the Board; Henry Allen Moe, William S. Paley, Vice-Chairmen ; Mrs. John D. Rockefeller, 3rd, President; fames Thrall Soby, Ralph F. Colin, Vice-Presi dents, Alfred H. Barr , Jr., Mrs. Robert Woods Bliss, Gardner Cowles, *Mrs. W. Murray Crane, Rene d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edsel B. Ford, *A. Conger Goodyear , *Mrs. Simon Guggenheim, Wallace K. Harrison, Mrs. Walter Hoch- schild, *James W. Husted, Philip C. Johnson, Mrs. Albert D. Lasker, Mrs. Henry R. Luce, Ranald H. Macdonald, Mrs. Samuel A. Marx, Porter A. McCray, Mrs. G. Macculloch Miller, Mrs. Bliss Parkinson, Mrs. Charles S. Payson, *Duncan Phillips, David Rockefeller, Nelson A. Rockefeller, *Paul J. Sachs, fames Hopkins Smith, Jr., Mrs. Donald B. Straus, G. David T hompson , *Fdward M. M. Warburg, Monroe Wheeler, John Hay Whitney * Honorary Trustee for Life © 1961 by The Museum of Modern Art, 11 West 33 Street, New York 19 Library of Congress Catalogue Card Number 61-16521 While this catalogue cannot pretend to list all of Boccioni's existing graphic worffi, it does include a large part of them, sufficient to draw a reasonably precise notion of his develop ment and the chronology of his stylistically varied oeuvre.
  • Place Victoria: a Joint Venture Between Luigi Moretti and Pier Luigi Nervi

    Place Victoria: a Joint Venture Between Luigi Moretti and Pier Luigi Nervi

    PLACE VICTORIA: A JOINT VENTURE BETWEEN LUIGI MORETTI AND PIER LUIGI NERVI Adrian Sheppard, FRAIC McGill University, Montreal INTRODUCTION lace Victoria stands alone amongst Moretti’s many buildings. The very fact that it deviates ideologically and formally from the rest of his oeuvre makes the project significant and P revelatory of Moretti’s architecture and of the man. The project neither follows the architectural principles of his prewar Rationalist period, nor those of his later expressionist phase. This divergence from his lifelong thinking is more the result of circumstances than the outcome of a re-evaluation of a well-defined design approach. The saga of the design process is a fascinating one for it illustrates how Moretti’s early ideas for the urban skyscraper changed continuously with his increased knowledge and awareness of the problem. He began by attempting to redefine the form and the use of the modern high-rise, but ended with an elegant landmark rather than a breakthrough. Instead of the heroic sculptural object he had hoped to create, he produced a highly functional and very beautiful tower. By Moretti’s earlier (and later) standards, the final version of Place Victoria is a remarkably disciplined and controlled work of architecture in which the usual concerns for self- expression and visual exhilaration are absent. This new formal clarity and structural logic are in great part attributable to his collaborator, engineer, Pier Luigi Nervi. The concept of Place Victoria is the outcome of a coming together of a radical architect and a conservative engineer. In culture and temperament, Nervi and Moretti were opposites.