tag:blogger.com,1999:blog-3562904908525046072024-03-12T22:36:19.898-07:00memethinksconstantly risking absurditypiero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-356290490852504607.post-60082907689426851002008-08-28T02:22:00.000-07:002008-08-28T02:34:39.967-07:00Egotists of Expression (eidolon)<span style="font-family: verdana;">Living and viewing Rem's architecture, do we get to know Rem the man any better? From Zaha's? Perhaps a bit more. And more again from Mies. But what of Palladio?<br /><br /></span><span style="font-family: verdana;">It seems that these people's art does not closen us to them as, say, William's or Gunther's. Or even Thomas's or James's.</span><br /><br /><span style="font-family: verdana;">But perhaps what we think (or expect by analogy), is but a mistake. As what "seems". In any and every case, what the architecture seems to reveal about it's "creator" seems pretty uninteresting, and we are much more attracted and interested in the architecture. And often the little it reveals we would rather not know, for instance who Norman thinks he is.</span><br /><br /><span style="font-family: verdana;">There remains this sense of residual difference and distinction around architecture: that it is not about particular men but of Man. Of mice and men not Of writers and readers.</span><br /><br /><span style="font-family: verdana;">For my part, I have never tried to express myself. At least, only in a second moment. First the architecture (that is, the idea), and if it leaves me kindly room for my fancies and fixations, all the better.</span><br /><br /><span style="font-family: verdana;">Architecture is one art (at least) safe from those predative, maniac egotists of expression. Such as Lady M. But yet ever menaced by those who have nothing to say, like Lady M, who is no lady, but a beast.</span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com1tag:blogger.com,1999:blog-356290490852504607.post-11441151425375023652008-05-04T09:16:00.000-07:002008-07-24T07:22:05.031-07:00Step 12: Aut Aut brief candle....<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEB-hGEbCYY4fnFfgcuj3k5eq6CEq_m_OVkMWGlgh68tk4bqsEARHseVuBNqFV5hyphenhyphen70Atn43das3t595xi250lRnNT5XDRTcdzACF9HYp2UDueym0sQLTAvU25lqQswKgAvxYBVm3kDJs/s1600-h/13+ah+arte.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEB-hGEbCYY4fnFfgcuj3k5eq6CEq_m_OVkMWGlgh68tk4bqsEARHseVuBNqFV5hyphenhyphen70Atn43das3t595xi250lRnNT5XDRTcdzACF9HYp2UDueym0sQLTAvU25lqQswKgAvxYBVm3kDJs/s400/13+ah+arte.jpg" alt="" id="BLOGGER_PHOTO_ID_5196557871904596258" border="0" /></a><br /><span style="font-family: verdana;">No reference to real or existing persons and events are casual...On the real utility of genre theories revisited, and the consequent inevitable intentional fallacy (and btw,intensional fallacy as well). The most interesting argument I believe is around my understanding of Danto's distinction between <span style="font-style: italic;">contraries</span> and <span style="font-style: italic;">opposites</span>.<br /><br />The efficacy of the genre theory comes thus to be questioned not only on the terms of its undecidability (beyond its normal, usual inaccessibility), but in terms of a necessary polisemy, connatural with the open work, where the open work is considered a necessary response to our more complex world view and experience. And yes, interesting the concept of "<span style="font-style: italic;">triviality</span>" in arguments concerning compliance to genre... Ready?<br /><br /><br />Perhaps as a consequence of the difficulties traced out in the previous steps, some traditions have shifted the focus from genre thinking (that is technical compliance) to the search for the <span style="font-style: italic;">finality</span> or the <span style="font-style: italic;">teleology</span> of specific works, and/or of Art. This to take into account the explicit or implicit openness of works of art, an openness that cannot be denied even to historical phenomenon.<br /><br />This renders vain the initial project, that sought to reduce criticism to description by compressing the intentional factor to the initial choice of genre. This per force. It is no longer uncommon and often necessary to ask the artists to explain the work, to justify its classification, to clarify its being. <br /><br />This supposes not only that the artist be honest, that he or she be disinterested, but that there be a ready classification for what he intends to do. Furthermore, it is necessarily an under-determined procedure (neither sound nor complete), in that perforce there must be other, exogenous criteria if such a valuation of the work is not to be <span style="font-style: italic;">tautological</span>. It is not sufficient to say that "I meant it that way", "I did it on purpose", now is it?<br /><br />We have to develop a way of evaluating the criterion themselves. We have to as it were, to critique critique itself (the third man problem).<br /><br />Let us take a step back. Let us suppose that all these dilemmas are difficult yes, but that generally we do not find them so problematic. In general, there is substantial convergence in our judgements. While there may be extreme or limit cases, a considerable consensus exists, and diverse methods whereby we build such a consensus. History is the mother of all truth, a rather cruel and obtuse mother, but nonetheless our mother. Probably the residual uncertainty is really in order, as this incomplete consensus is part and parcel of an evolved conception of sense and meaning, and it is not at all strange that our judgements should follow the dynamic upon which they sink their foundation, that is language.<br /><br />Let us take a limit case. An artist creates his experience. He is quite accultured, and so he is certain to have created something quite new and unique. So new and unique that he feels the need to explain that which he has done, so that, understanding it, we may appreciate it, and consider it worthy of our evermore tried and pressed attention.<br /><br />Whatever could he <span style="font-style: italic;">say</span> to <span style="font-style: italic;">convince</span> us of the value of what he has done? What possibile motive and reasons could he supply? What sort of arguments, if indeed it may be necessary an argument? To what could he appeal?<br /><br />Arthur Danto, differently from Walton, considers just this case. He does not consider the evolutionary work, but the revolutionary work which sets out as its main purpose that of staying out of our usual or known categories. Where compliance to established genres is at best <span style="font-style: italic;">trivial</span>.<br /><br />To this end he considers two types of predicates. <span style="font-style: italic;"> Contradictory</span> and <span style="font-style: italic;">contrary. <span style="font-style: italic;">P</span></span>redicates P an Q are said to be <span style="font-style: italic;">contradictory</span> <span style="font-weight: bold;">for all x, P(x) or Q(x) and if P(x) then not Q(x)</span>. Predicates S and R are said to be <span style="font-style: italic;">contrary </span>more simply if S(x) then not R(x), leaving open that neither S(x) or R(x) . According to Danto, predicates utilised historically to the type of discussion we are examining have been implicitly of the second type. And, always according to Danto and perhaps logic, in order to meaningfully apply a contrary predicate, one must previously apply a higher order predicate, let us say K. <br />It is most probably that it this that we all mean when we ask, "to what may he appeal <span style="font-style: italic;">to</span>?"<br /><br />Now, I do not wish to go further into the specifics, nor defend further the claims, even though they are analogous to most the widely accepted claims regarding compliance of certainly less contended questions, such as that of concrete things and not abstract categories. My aim is as always another. <br /><br />What I wish to say takes that its cue by recognizing that I am certain that for Danto being K stands for being ART. For Danto this means to be a member of the artworld (to which belong not only works but also subjects and authorities). How this belonging is determined is not really explained or justified, though it is convincing. No reasoning, no argument, no decision procedure is furnished that is not in the end open to a sonorous "<span style="font-weight: bold;">So what!</span>". What is important is that <span style="font-style: italic;">before </span>we fill our mouths with discussions on esthetic criteria, and their applicability to specific cases, we must indeed seem to have to know or agree that we are really dealing with "Art".<br /><br />And we are back to the start. We simply do not know what that means nor what sort of reasoning could satisfy our requests. Perhaps a judgment-consensus on the ultimate goal, use or purpose of art. But in that case we are certain of one thing and only one thing: that we will never possibibly succeed in our endeavour.<br /><br />Does art give us something? And just one thing? And is it an example of itself? And if we don't feel anything, is it not art? And if we don't think anything, is it not art? And if we think just anything, is it?<br /><br />And yet, it seems ever so importa to distinguish art from non art. For if we do not succeed in including or excluding an experience from this heavenly olympus, all our efforts seem <span style="font-style: italic;">not only vain</span>, but <span style="font-style: italic; font-weight: bold;">vacuous</span>.<br /><br />And all our yesterdays have taught us that we have never succeed in this endeavour.<br /><br />The contemporary crisis.<br /><br /><br /><br /><br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-27685880427227197372008-04-16T15:16:00.000-07:002008-05-04T09:01:50.288-07:00Step 11: Strawberry and Hazelnut Cream<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKQE_M8URbwuO-95q2YHkI0lAbPOO4mzMrs0LHWijc9fT22MNz73S95cF3vz7NP_gAbBXFsOkxXkQjB64Vvia1fFAdh2ZB0Ep69F_YC5D_TqmCFwxcRWmUDcuTfgi2TkBAuNzcrRG2LgQ/s1600-h/12+gusto.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKQE_M8URbwuO-95q2YHkI0lAbPOO4mzMrs0LHWijc9fT22MNz73S95cF3vz7NP_gAbBXFsOkxXkQjB64Vvia1fFAdh2ZB0Ep69F_YC5D_TqmCFwxcRWmUDcuTfgi2TkBAuNzcrRG2LgQ/s400/12+gusto.jpg" alt="" id="BLOGGER_PHOTO_ID_5189970957953088146" border="0" /></a><span style="font-family:verdana;"><span style="font-style: italic;">On taste theories of art</span>.<br /><br />They are a bit out of fashion, really, and that in itself is quite significant. In the era of <span style="font-style: italic;">superficial </span>relativism (and oh boy is there another type, which in reality is all we have), theories of tastes are at best a confusion of liking and judging (de gustibus.....), at worse they are thinly veiled aggressions that intimate to let the matters be, for we will never come to head on it.<br /><br />But we don't want to drop the matter. In our opinion it is important that we recognize, that, willy nilly, we are able to comunicate, and maybe even express our thoughts, that we are not really <span style="font-style: italic;">unspeakably alone</span>.<br />It is our opinion that, magically, we <span style="font-style: italic;">can </span>share what is most important to us, our thoughts, our feelings, our ideas. And that indeed we do, and we have all the reason to be satisfied of our sharing.<br /><br />Such stuff as we are made of.<br /><br />It fine to drop the matter and to be civil, to agree to disagree ecc ecc if pursuing a discussion will only be struggle and strife that can only bring ruin to a fine evening by the sea in front of the ice cream parlour. For really unimportant things, or things for which we really are as yet (and maybe for ever) incapable to decide, to leap beyond informed opinion into certainty. <br /><br />But if the matter is close to our heart,or if on our opinion ride important matters and courses of actions, <span style="font-style: italic;">significant </span>things?<br /><br />Then it just wont do to let things be, it wont do to bite the matter of with a smile, roll the universe up with a smile...if indeed we are not disposed to examine and discuss, to put to discussion our ideas, what value do we give to these things? And what sort of truth is it if it is truth only for me?<br /><br /><span style="font-style: italic;">Superficial</span> relativism sins either of laziness or of incoherence. It lazily does not consider the meaning of the words. Real relativism does not exhonarate us from furnishing criteria or defending our thoughts. It simply requires that we furnish a "complement", <span style="font-weight: bold; font-style: italic;">fill in a preposition </span>for our thoughts. It requires that we specify what something is relative <span style="font-style: italic;">to</span>, it requires and exogenous criteria that does not beg the question, is not implicit in the judgement or the problem. (Absolutism says everything is "relative to God", whatever that means, but unfortunately that begs the question....)<br /><br />You see, relativism is simply a recognition that reality is complex and manifold. <span style="font-weight: bold;">That an umbrella is an excellent portable shelter against the rain, but a tragic parachute...</span><br /></span><br /><span style="font-family:verdana;">And superficial relativism is incoherent. It simply is not true that I can believe anything. I cannot even <span style="font-style: italic;">immagine</span> everything. I can't immagine for instance a society that is based on the values expressed by the <span style="font-weight: bold;">Addams family.<br /><span style="font-weight: bold;"><br /></span></span>If opinion and truth weren't really two distinct things, then there would be no reason at all to speak. That we <span style="font-style: italic;">may not have access</span> to the truth, and thus justly we value tolerance and democracy, does not justify that we deny that the truth is a <span style="font-style: italic;">meaningful</span> concept.<br /><br /><span style="font-style: italic;">This</span> is the <span style="font-weight: bold;">problem of taste.<br /><br /></span>Rooting esthetic judgment in taste, is an implicit recognition that - for <span style="font-style: italic;">whatever</span> reason - the <span style="font-style: italic;">formulation</span> (at least) of an esthetic judgment is not a mere description, or verification of class, but a decisive role is played by sentiment and sensibility. Which is problematic. Because it does not satisfy our aspirations, and also because the in the realm of sense and sensibility, the air is "too thin", and concepts wizen and wilt. And descriptions are like unto angels.<br /><br />And we haven't a criterion for distinguishing the "goodness" of different and differing judgements. It is perhaps for this reason, that historically the modern theories of taste (way back to dear Hume, here reported),really fall back to a sort of plural and lay version of <span style="font-weight: bold; font-style: italic;">auctoritas</span>. But that just shifts the problem to the next turtle below...For <span style="font-style: italic;">quis custodis custodinis</span>, and there is always a <span style="font-weight: bold;">third man</span> that steals our true love....<br /><br />Perhaps Deleuze was not far from the truth when he asserts that <span style="font-style: italic;">God</span>, the <span style="font-style: italic;">truth</span>, and the <span style="font-style: italic;">presence of present</span> are unseparable drinking buddies.<br /><br /><br /><span style="font-weight: bold;"></span><span style="font-weight: bold;"><span style="font-weight: bold;"></span></span><br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-75674832150068853812008-04-05T09:40:00.000-07:002008-05-04T09:01:50.289-07:00Step 10: Genre Theories and the Neutrality of the Critic<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirtWbb07t62KQGB_6tyJ9BTATLamIRJtZZSHz1GYLOvPae_85izJ4oxXgN8xErJ5wk0D6Ib8Dn5n9EZa-fnwDp1Jwm4My7YVPJND3pzOht374B72YSmCFyAlcvREfx4ax28oe9M8gTy2g/s1600-h/11+generi.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirtWbb07t62KQGB_6tyJ9BTATLamIRJtZZSHz1GYLOvPae_85izJ4oxXgN8xErJ5wk0D6Ib8Dn5n9EZa-fnwDp1Jwm4My7YVPJND3pzOht374B72YSmCFyAlcvREfx4ax28oe9M8gTy2g/s400/11+generi.jpg" alt="" id="BLOGGER_PHOTO_ID_5185802470686042690" border="0" /></a><br /><span style="font-family:verdana;">Genre theories of art are more or less a development of the Aristotelian approach to criticism. That is, art objects as a result of a technique, or <span style="font-style: italic;">techne</span>.<br /><br />Let us pretend that we have not yet discussed, as we have, the closure or completeness of our daily concepts (Wittgenstein) nor of our abstract concepts (Goodman and compliance classes).<br /><br />Let us begin with what is by now an acquired concept of modern semiotics, and that is the <span style="font-style: italic;">openness</span> of works. This is by no means a quality shared by all cultures, but it is a distinct product of the European aesthetic research, a sort of cultural vice that we first raised as a banner and flag with the French revolution, but whose roots sink down well into the first modernism, Michelangelo and the cult of genius and <span style="font-style: italic;">originality</span>.<br /><br />We see this in the perduring 19th century rethoric of critique, crisis, war. The Bushes are Marx's leanest and meanest illegittimate children.<br /><br />Looking into the openness of works, appears a <span style="font-style: italic; font-weight: bold;">logical</span><span style="font-weight: bold;"> vice</span> in the genre theory of art, a vicious circle.<br /><br />Let us suppose a clean slate, where we not only have not developed the criteria for belonging to a certain class or genre, but where we are yet to develop the genre's themselves. From a theoretical point of view, this veil of ignorance has to be admitted, in as much as the strong version of the genre theory hopes to trace out a <span style="font-style: italic;">descriptive </span>and not <span style="font-style: italic;">evaluative</span>, theory of criticism.<br /><br />Let us suppose then to have neither criteria nor genre, but just works of art (how we come to classify certain objects as works of art and not other things, is quite misterious, but it is in the end just the same game...). The role of the critic behind this veil of ignorance, would be to distill the <span style="font-style: italic; font-weight: bold;">essential</span> properties of each work of art and define the genres. But to do this, he would have to have instance of the genres. Just what he does not have, for not having the class, how could he have the instance. Look at it this way: it is the same problem faced by art historians in determining falsity or authorship of 16th century paintings.<br /><br />He has to rely on his <span style="font-weight: bold;">authority</span> or on the individuation of the <span style="font-weight: bold;">intentions</span> of the artist (supposing he/she is <span style="font-style: italic;">known</span>). But auctoritas is not something that we can believe in (step 12), and we have shown that intentions are <span style="font-style: italic;">meaningless</span>. <span style="font-weight: bold;">Particularly in our age, where not only revolutions happen, but they are the highest of our values.</span><br /><br /><span style="font-style: italic;">Our concept of art is conceptual. Our concepts are open and in open evolution.a</span><br /><br />The <span style="font-weight: bold;">ouroboros</span>, is the emblem of this sort of operation. It is not casual that it is also a mythic and mistical beast tied to all that is life.<br /><br />It is also the emblem of the architecture that slithers beneath these words, and fills the empty belly of the white trojan horse that is this architectural novel.<br /><br /><br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-57038814051965861802008-03-22T11:01:00.000-07:002008-07-24T07:19:57.764-07:00Step 09: the logical difference between sculpture and architecture<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY4vMuQn2bOIkRaj7SjfVhodt2uca7py0-hC5swdu3w1fFX673mrc-LQ7YRJWyyQeux-tMJoSUzkSmIdUFE8fI6msxgwWgdRa3NCrb576wYIwaou2nOz4TUnvk0hgl64nAmwmKdAODQx0/s1600-h/10+canone.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY4vMuQn2bOIkRaj7SjfVhodt2uca7py0-hC5swdu3w1fFX673mrc-LQ7YRJWyyQeux-tMJoSUzkSmIdUFE8fI6msxgwWgdRa3NCrb576wYIwaou2nOz4TUnvk0hgl64nAmwmKdAODQx0/s400/10+canone.jpg" alt="" id="BLOGGER_PHOTO_ID_5180628134605990450" border="0" /></a><span style="font-family:verdana;">Some rather dry theory, but with interesting implications. The page has three elements. On the right face, two texts. The first is an examination of Aristotle's definition of tragedy as an exemplification of a particular esthetic strategy: the canon (or genre) approach, that is, that approach to art instances as technical objects (techne) complete with identification rules (complete and coherent classes) that generate descriptive evaluations. At least, in theory.<br /><br />It should become clear through this piece why the novel has spent so much energy on the so called intentional fallacy, because it is here that ingenuous "subjectivism" tries to wedge in its doubt. The second text of the right face discusses just this.<br /><br />It is a relatively crude approach. Firstly, because it is clearly a rigid and elementary case of the more fluid scenario proposed by Walton (discussed in step 3).<br /><br />Crude also because it reduces art to a sort of painting by numbers, a much-too-cold academic endeavour. If I were to hazard a difference between art and artisanship, it would be exactly what this approach proposes as the certain criterion for the evaluation of art. The artisan knows exactly what he is looking for, his result is clear and his intention is a good (if not always precise) measure of success or failure. Artisanry is a <span style="font-style: italic;">technical</span> endeavour indeed. The artist often does not know exactly where his research will lead.<br /><br />On the contrary, it is this serendipity which is often the key to art's power, its capacity to tap into destiny, to betray our fears, to lay nude our shameful nakedness..<br /><br />In any case, this approach must be discussed. It must be discussed because it reveals how the concept of "authority" (auctoritas), and its latent psicology, hovers behind many of our theoretical aspirations. And indicates, if faintly, what I propose as the final formulation of the physiognomy of judgment -<span style="font-style: italic;"> consensus</span>.<br /><br />And furthermore, for an <span style="font-style: italic;">ambitious</span> architect it is essential. Because to fully deploy the power of architecture it is essential <span style="font-style: italic;">not to deny</span> that it is a technical art, but that it cannot be<span style="font-style: italic;"> only </span>technical. That is, to understand how its "technical" dimension not only <span style="font-style: italic;">can</span> be subordinated to other ends, but <span style="font-style: italic;">in what manne</span>r it <span style="font-style: italic;">must</span> be subordinated.<br /><br />The text in blue is a small theoretical exemplification of these arguments ("eg"). In particular, it discusses the <span style="font-weight: bold;">logical difference </span>between sculpture and architecture, starting from a <span style="font-style: italic;">fresh reading of typology</span> in architecture:<br /><br /><span style="font-size:130%;"><span style="font-style: italic;">Scultpure is an idea of form. Architecture is a form of idea.<br /><br /><span style="font-size:100%;">Peace, Frank.</span><br /></span></span></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-45595960817176832352008-03-18T06:37:00.000-07:002008-05-04T09:02:30.966-07:00Step 08: 100 monkeys on a hundred machines (King Balthassar)<span style="font-family:verdana;"><span style="font-weight: bold;">a stochastic demonstration of the soul</span>...(writing on the wall)<br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHH-U6McB6fYzRP5pDHsX_qapgP_XKZnRLh498fHMBnwePwLGoWeLjqZERf-Rmx72DLur3ublHv26FdLIT2KbvXvQmdEtk7nDQ0trnaeiysh9jLBPIOrIYaQ0fG0o_eVD0a_m2NMgTJSw/s1600-h/09+cento+scimmie.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHH-U6McB6fYzRP5pDHsX_qapgP_XKZnRLh498fHMBnwePwLGoWeLjqZERf-Rmx72DLur3ublHv26FdLIT2KbvXvQmdEtk7nDQ0trnaeiysh9jLBPIOrIYaQ0fG0o_eVD0a_m2NMgTJSw/s400/09+cento+scimmie.jpg" alt="" id="BLOGGER_PHOTO_ID_5179086257421708482" border="0" /></a><br /><span style="font-family:verdana;"><span style="font-style: italic;font-family:verdana;font-size:130%;" >a fretful writer spills his inkwell on the ledger. </span> <span style="font-style: italic;font-family:verdana;font-size:130%;" ><br />The sun in dashes plunges into the oily pool, </span> <span style="font-style: italic;font-family:verdana;font-size:130%;" ><br />as an ant passes and his rapid crawling </span> <span style="font-style: italic;font-family:verdana;font-size:130%;" ><br />scrawls out the Poet's song.</span><br /><br />Though highly <span style="font-style: italic;">improbable</span>, this scenario is not <span style="font-style: italic;">impossibile</span>. That is, it is not <span style="font-style: italic;">incoherent</span> with our concept of physical laws. If it were to happen to us, we would be amazed. And if amazed, we would be amazed that ant should <span style="font-style: italic;">write</span>, and write so well.<br /><br />That is we would doubt that the ant had intended to write or could have an intention at all, but we would not hesitate to <span style="font-style: italic;">read</span> the phrase. On the contrary, it is the veritable <span style="font-style: italic;">cause</span> of our amazement. The consequence is that intention, or any "baptismal" theory of sense and meaning, is ... nonsense.<br /><br />What does that mean?<br />It means that <span style="font-style: italic;">meaning</span> is NOT what <span style="font-style: italic;">we</span> mean.<br />Or at least, meaning is not what we mean it to mean. What do we mean?<br /><br />You can read the <span style="font-style: italic;">extreme</span> consequences of this simple "observation", including the <span style="font-style: italic;">wisdom of janitors</span>, in the text (if of course italian is <span style="font-style: italic;">meaning</span>ful, for you...)<br /><br />What does this have to do with architecture you may ask? Everything, if only for the simple reason that <span style="font-style: italic;">architecture is the prosecution of philosophy with other means.<br /><br /></span>Do you recognize the army of monkeys in the graphic?<br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-77990859954485389792008-03-16T05:09:00.000-07:002008-05-04T09:05:38.095-07:00Band-Aids (Mattino da Tappeto or Palladio's last lesson)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYX3g-k0dhdNKbHkqxoFvi6XWatyWQN8r0pJC1wOroCMPS-Y052qPCxbGrOlztjPn_0Jzbj_1IFDWKR5s_IrQQhi8xhkfe-aMHs2dW6ug9-DImZMKSf37iKE8f6nKhR055fbo3cXwKtvc/s1600-h/pro.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYX3g-k0dhdNKbHkqxoFvi6XWatyWQN8r0pJC1wOroCMPS-Y052qPCxbGrOlztjPn_0Jzbj_1IFDWKR5s_IrQQhi8xhkfe-aMHs2dW6ug9-DImZMKSf37iKE8f6nKhR055fbo3cXwKtvc/s400/pro.jpg" alt="" id="BLOGGER_PHOTO_ID_5178312355854576802" border="0" /></a><br /><span style="font-weight: bold;font-family:verdana;" >The client's problem:<br /><br /></span><ul><li><span style="font-family:verdana;">Organise a 40 m commercial façade that drops 1,40m through its development (3,5% slope), with openings esclusively on street-side. The request translates constructively in the maximisation of shopwindow surface area, for commercial, living, and sanitary purposes.<br /></span></li></ul><ul><li><span style="font-family:verdana;">Norms on accessibility for the disable impose that every commercial activity have a barrier free access. This required that the floor levels drop following the street slope. Commercial strategies permitted a compromise concentration of one shop every two shopwindows, limiting the number of discontinuities in flooring to four (<span style="font-weight: bold;">h=17,5cm</span>)<br /></span></li></ul><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDS8s0pkUCmrb0l7mYm0SQkR_f0KO9b8Dte1RxjLpXPIMMk_2_fN0V9zG9m2Ot_Cy9ERcwgkOPemOMoJrg-rS8tA9mURiFpZNpLVa_j2MJAD8V06-CHrCesRO_whoEGsQadN3yzXsNLEw/s1600-h/ang4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDS8s0pkUCmrb0l7mYm0SQkR_f0KO9b8Dte1RxjLpXPIMMk_2_fN0V9zG9m2Ot_Cy9ERcwgkOPemOMoJrg-rS8tA9mURiFpZNpLVa_j2MJAD8V06-CHrCesRO_whoEGsQadN3yzXsNLEw/s400/ang4.jpg" alt="" id="BLOGGER_PHOTO_ID_5178312042321964162" border="0" /></a><br /><span style="font-weight: bold;font-size:100%;" ><span style="font-family:verdana;">12 cm - The architect's problem<br /><br /></span></span><span style="font-size:100%;"><span style="font-family:verdana;">A straight forward resolution of client's problem, taking into consideration building technology, standardisation of specs, maximisation of openings, ecc ecc. would have led to a <span style="font-weight: bold;">monotonous, ripetitive and anonymous</span> façade, with a <span style="font-weight: bold;">clumsy staircase effect</span>, only partially attenuated by tried-and-true solutions (such as a townhouse organisation of the façade).<br /><br />To reduce redesign costs (already in executive phase when I entered into the project), I needed to resolve the client's problem with the least intervention on the building distribution, which was in any case already hyperdetermined by the commercial-program requests,and without restudying the structural hypothesis already decided.<br /><br />Formally, the problem was a classic façade and corner problem, which I formulated thus:<br /><br /><span style="font-style: italic;">"how to resolve in a fresh attractive manner the foundation, development, and coronation of a <span style="font-weight: bold;">flat, folded surface</span>" (12 cm)<br /><br />This is when and how I thought of Palladio.</span></span></span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPTQCGb8cDC2-3hcXt1TLpqsWzW3UFwemCNnjsJX4rnlPAIYYepJBHe-P9_yhnPzR307t465tEV4y8a6WTCcdhc9xuby0RFwQZN_YdDg3xKNil3k_dtzdRhpTnpE5j8wKVhXWcJDwbHFQ/s1600-h/scorx4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPTQCGb8cDC2-3hcXt1TLpqsWzW3UFwemCNnjsJX4rnlPAIYYepJBHe-P9_yhnPzR307t465tEV4y8a6WTCcdhc9xuby0RFwQZN_YdDg3xKNil3k_dtzdRhpTnpE5j8wKVhXWcJDwbHFQ/s400/scorx4.jpg" alt="" id="BLOGGER_PHOTO_ID_5178312712336862386" border="0" /></a><br /><span style="font-weight: bold;font-family:verdana;" >The architect's solution<br /></span><span style="font-family:verdana;"><span style="font-style: italic;">On a hairy morning of june, my skin would not hear of being courteous to my razor<br /><br />Design strategies:<br /></span></span><ul><li><span style="font-style: italic;font-family:verdana;font-size:130%;" >CONFOUND THE EYE, SIMPLY</span><span style="font-size:130%;">.</span><br /></li></ul> <span style="font-family:verdana;">Having decided to act only on the surface of things, my imagination oriented itself automatically on various surface treatments, on philosophical metaphors for sense, on the slipperyness of meaning, and on the task that I had to absolve, that is, to put a <span style="font-style: italic;">patch</span> on bad initial project (not mine). Thus the <span style="font-weight: bold;">bandaid</span>....a sort of hatch cut into the "meat" of the façade, like small cuts made by a fretful razor, <span style="font-style: italic;">artfully</span> inclined and dispersed on the façade would have effectively i<span style="font-style: italic;">mpeded the eye from registering the perspective and the internal relationships between the façade openings</span>.</span><br /><ul><li><span style="font-style: italic;font-family:verdana;font-size:130%;" >RUN TOWARDS YOUR ENEMY</span><span style="font-size:130%;">.</span></li></ul> <span style="font-family:verdana;">one of the greatest difficulties was represented by the coronation of the façade. Not a pitched roof, but a flat roof was requested as a possible summer dehors. If in order to function as a confortable parapet, the gutter line would have had to necessarily follow the various roof levels (which for reasons of internal staircases had to follow the groundfloor levels), it would have thus been impossible to avoid a tell-tale staircase effect at the coronation of the building. Unless of course, the height of the coronation were left free to respond to esthetic satisfaction, and the view guaranteed by a different trick: here I thought of Corbu's penthouse in Paris. (Texans need not apply.)<br /><br />The same element thought to "confound the eye, simply", becomes an opening in the façade from which to look upon the street.<br /><br /><span style="font-weight: bold;">Light play and Subcutaneous Inserts</span><br /></span><br /><span style="font-family:verdana;">(and play of light). The result was a playful façade, with large openings and a rich texture. That the band-aids were also occasions for street-signs, temporary installations ecc, did not hurt.<br /><br />The coronation of the building, to guarantee the cleaniness of the façade in case of rain,could have been resolved through <span style="font-style: italic;">"sub-cutaneous"</span> inserts, that would have broken the flow of rainwater </span><span style="font-family:verdana;">on the façade </span><span style="font-family:verdana;">(and thus ordered soot and atmospheric dirt deposits), and enriched the texture of the skin, all whilst conserving the overall monolithic aspect of the façade<br /></span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsQnKtV-nmhiXYWb9ulqw_ASuZuWL74zmZDF_nrZ1SynIyW_kaLAkDbD2msaEdkkeGD6YpWWYwuzjqfUOeg5JQm1_T1eu_RJg0S30jGGmANhv8Z0y42pU18sUNq2BrB075uRqFqBSghLM/s1600-h/cottox4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsQnKtV-nmhiXYWb9ulqw_ASuZuWL74zmZDF_nrZ1SynIyW_kaLAkDbD2msaEdkkeGD6YpWWYwuzjqfUOeg5JQm1_T1eu_RJg0S30jGGmANhv8Z0y42pU18sUNq2BrB075uRqFqBSghLM/s400/cottox4.jpg" alt="" id="BLOGGER_PHOTO_ID_5178312222710590610" border="0" /></a><br /><span style="font-size:85%;"><br /><span style="font-family:verdana;">[design proposal for façade of the Balon flea market, Torino, Italy.<br />idearight reserved,2003]</span></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-51659486377751199942008-03-11T04:56:00.001-07:002008-05-04T09:01:35.586-07:00Step 07: mad mallards<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3NZOgj0ag5ijL5-VP9bto5kso6RI4mO2uV6aVW9hYApsVtT7yQDQ5AVhuGpPFiAvfbg9MBHsFDRmvX_DQC3uEi4mBjGsSYa_KKtznNTp0SenBHcgjiLSKO3pgr9X71NXMcbfv52KmKWw/s1600-h/08+mad+mallards.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3NZOgj0ag5ijL5-VP9bto5kso6RI4mO2uV6aVW9hYApsVtT7yQDQ5AVhuGpPFiAvfbg9MBHsFDRmvX_DQC3uEi4mBjGsSYa_KKtznNTp0SenBHcgjiLSKO3pgr9X71NXMcbfv52KmKWw/s400/08+mad+mallards.jpg" alt="" id="BLOGGER_PHOTO_ID_5176454112484158578" border="0" /></a><br /><span style="font-family:verdana;"><span style="font-weight: bold;">The intentional fallacy.</span><br /><br />A bbozzi di sillogis MO, che si trova a metà pagina.<br />E' il sollogismo che regola tutto il primo capitolo di questo romanzo architettonico.<br /><br />Il romanzo si intitola <span style="font-weight: bold; font-style: italic;">1steinstrasse</span>, <span style="font-style: italic;">il capitolo</span> <span style="font-weight: bold;">01 upbuilding: Heidegger su Heidegger su platone</span>. <span style="font-style: italic;">Il sottotitolo</span>: "it may not be good Plato, but it certainly is good Heidegger").<br /><br />il testo inglese traduzione di una parabola di Kafka.<br />La foto s'intitola <span style="font-style: italic;">amitié</span>.<br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-51595885640825273582008-03-09T03:40:00.000-07:002008-07-24T07:20:55.329-07:00muro diesel 2007<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTOwbl0YYSjyoBplyS7V_GCvCgUuKpqkyDp6hkgjcQY2ipIAM-iecyu_9SmWgnwv1kRKe87LCTqyRlSlXtyWSwYy7e8RxEA9RXdyDFsx4ayGocVTlHgOWk8KoftVAtDhZU4Z3vcwzv9II/s1600-h/ESEC_digitalmockup_milan+redux.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTOwbl0YYSjyoBplyS7V_GCvCgUuKpqkyDp6hkgjcQY2ipIAM-iecyu_9SmWgnwv1kRKe87LCTqyRlSlXtyWSwYy7e8RxEA9RXdyDFsx4ayGocVTlHgOWk8KoftVAtDhZU4Z3vcwzv9II/s400/ESEC_digitalmockup_milan+redux.jpg" alt="" id="BLOGGER_PHOTO_ID_5175693589740153954" border="0" /></a><br /><br /><br /><span style="font-family:verdana;">Ci abbiamo provato, a fare qualcosa di più della grafica, una archigrafica se volete, più di un segno, più di un richiamo. pazienza! Con </span><a style="font-family: verdana;" href="http://luluthinks.blogspot.com/">Luisella Cresto</a><span style="font-family:verdana;">.</span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-15790303835163282052008-03-07T03:06:00.000-08:002008-05-04T09:01:35.588-07:00Step 06: s0l0:due;s0l1 [parmenide]<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYt5q-vuSvMWbf-S5HYp-xAkmbM5HMr_H32NTEl3gdKvD6yHx8U_9akN4O8MPj0jihQOj09v00D82RVlyOzx6HsutZaJ2mL5GhKlWYI7nc766l90O8mVxqp8La6KGDuIHQmeRYutyMhHs/s1600-h/07+TRADUZIONE.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYt5q-vuSvMWbf-S5HYp-xAkmbM5HMr_H32NTEl3gdKvD6yHx8U_9akN4O8MPj0jihQOj09v00D82RVlyOzx6HsutZaJ2mL5GhKlWYI7nc766l90O8mVxqp8La6KGDuIHQmeRYutyMhHs/s400/07+TRADUZIONE.jpg" alt="" id="BLOGGER_PHOTO_ID_5174959622778940482" border="0" /></a><br /><span style="font-family:verdana;">On translation in a translated sense, in the maieutic manner. Plato's and Socrates only defeat, apparently.<br /><br />Il linguaggio come traduzione del pensiero...<br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-31062729583394232782008-03-05T23:15:00.000-08:002008-05-04T09:06:12.725-07:00Ristoro: un ristorante vuoto toglie l'appetito<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLQ8HIBCsYMjvTShY_O-ccBpw3sOSCLPRV7qup2iTaX2SXnB1FKQkXEnd50Ax4T3i-pI82EdG1ZD5U_wUaRNpMpM1ZISogutHy5vNEXAfXVklUjQqCPrRivTFcLNzSyaMakWMwMd6EMp8/s1600-h/sezione+02+t10+ritoc+02.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLQ8HIBCsYMjvTShY_O-ccBpw3sOSCLPRV7qup2iTaX2SXnB1FKQkXEnd50Ax4T3i-pI82EdG1ZD5U_wUaRNpMpM1ZISogutHy5vNEXAfXVklUjQqCPrRivTFcLNzSyaMakWMwMd6EMp8/s400/sezione+02+t10+ritoc+02.jpg" alt="" id="BLOGGER_PHOTO_ID_5174524258408448674" border="0" /></a><br /><span style="font-family:verdana;"><br />Il cliente, noto ristoratore di Milano, era in trattativa per l'acquisto della licenza dei proprietari di un Brek nei pressi della Centrale, con l'intenzione di realizzare un ristorante di grande capienza, 200-300 coperti, abbinando alta cucina con ambiente lussuoso e ben attrezzato: ampie salette private, fumuoir, cantina/enoteca. Il fabbricato era inizio 900, stile liberty, di ottima qualità. Era esplicita richiesta del cliente la cucina a vista.<br /><br />Con il mio collega di milano, ho messo a punto le strategie distributive. Il fabbricato era di tipo basilicale, con una ampia sala a doppia altezza, e "navate" basse attorno al patio della sala centrale. </span><br /><span style="font-family:verdana;"><br />La <span style="font-style: italic;">strategia distributiva</span>:</span><ul><li><span style="font-family:verdana;">collocare bar, fumoir (con sigari pregiati importati da tutto il mondo), e salotto di attesa nella navata di facciata,</span></li><li><span style="font-family:verdana;">collocare salette private, accorpabili o divisibili a piacere, nelle navate laterali.</span></li></ul><span style="font-family:verdana;">In questo modo, era possibile una gestione variabile dello spazio permettendo la gestione di "dimensionare" lo spazio percepito dal cliente a secondo dell'afflusso previsto nelle varie ore del giorno. </span><br /><span style="font-family:verdana;"><br />L'idea era: un ristorante vuoto toglie l'appetito.<br /><br />Il bar (collegato direttamente ad enoteca sottostante tramite scala) , fumoir, salotto di attesa potevano fungere da unità autonoma, attiva all'ora dell'happy hour e a notte avanzata. La sala centrale, risto</span><span style="font-family:verdana;">rante principale per l'ora di pranzo, con affluenza prevedibilmente ridotta. Questa scelta, a parte essere più logica perché sala di accesso più immediato, trovava felice riscontro alla doppia altezza del locale, che poteva quindi accedere ad illuminazione naturale diretta ed indiretta (disponibile solo nelle ore diurne). Il fabbricato era infatti affiancato da altri due palazzi, più alti. La navata centrale, più alta e arretrata rispetto i confinanti, era perimetrata a livello "matroneo" di finestre a nastro.<br /><br />Questa la macchina, il corpo. Ora si trattava di dargli un'anima. Oltre al brief del cliente, mio collega aveva espresso il desiderio di collocare un acquario importante, per le aragoste e il pesce fresco.<br /></span><br /><span style="font-family:verdana;">Per dargli una anima, ho pensato a due strategie:<br /></span><ul><li><span style="font-family:verdana;"><span style="font-weight: bold;">colore</span>: utilizzare grafica nella navata di ingresso, ed un cromatismo spinto solo nelle navate laterali. Ho scelto invece di coniugare la sala centrale in <span style="font-weight: bold;">bianco</span>, per amplificare l'illuminazione naturale, accentuare il colore dei cibi, e soprattutto, accentuare il senso di "metamorfosi" possibile attraverso le regolazione dei rapporti fra le varie "unità" funzionali (e temporali) In q</span><span style="font-family:verdana;">uesto modo, il locale centrale sarebbe reso più drammatico e compiuto.<br /></span></li><li><span style="font-family:verdana;"><span style="font-weight: bold;">tende</span>: Le tende sono un dispositivo che permettono di variare l'ampiezza dello spazio con poca fatica e ripetutamente. In questo caso, si era orientati sull'utilizzo di pannelli traforati in ferro sottile, gli <span style="font-style: italic;">scarti di taglio al laser</span>. In questo modo, il bianco della sala centrale intravedeva il colore retrostante delle salette, che attraverso un sapiente uso della luce artificiale, <span style="font-style: italic;">consentiva numerosi effetti scenografici.</span></span></li><li><span style="font-family:verdana;"><span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic;"><span style="font-weight: bold;">soffitto:</span></span></span></span> Il soffitto nasce da due considerazioni. La prima era una lettura attenta dello spazio: La sala centrale non era coperta da una capriata unica, bensi da due capriate affiancate, con travatura e pilas</span><span style="font-family:verdana;">tratura centrale. L'asse di simmetria, cioé, non era al contempo asse di percorrenza. Ciò suggeriva (sebbene non imponesse) la creazione una suddivisione in due fette, di proporzioni gradevolissime (alte e sottili), che potevano essere differenziate a secondo dell'estro della gestione. La seconda considerazione era che la richiesta di cucina a vista, che avrebbe dunque necessitato di una cappa di dimensioni importanti.</span></li></ul><span style="font-family:verdana;">L'idea era di utilizzare una membra traslucida, per coprire la cappa. Sicuramente un intervento costoso, ma interessando tutto il soffito, si sarebbe potuto risparmiare sul:</span><ul style="font-family: verdana;"><li>rivestimento e finitura impianti di climatizzazione</li><li>corpi illuminanti</li></ul><span style="font-family:verdana;">e al contempo, avrebbe consentito di utilizzare un impianto illuminotecnico per variare la scenografia in continuazione, con poco impegno. Permettendo di introdurre in continuazione <span style="font-style: italic;"><span style="font-weight: bold;">elementi di novità</span> </span>senza opere edili. Cosa importante per un ristorante.<br /><br />Avevo in mente una immagine, il <span style="font-style: italic;">soffitto leonardesco al Castello Sforzesco</span>.</span><br /><span style="font-family:verdana;"><br />Per comporre meglio lo spazio, ho spostato l'acquario per le aragoste al banco bar, e trasformato l'acquario in sala in un elemento luminoso scenografico, alto e sottile, che facesse da contrappunto compositivo alla larga pancia materna alimentata dalla cucina a vista.<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIxleSRSYaObTb3sqPNbaPWZhPJLg36mABBEsKv4oxEbOMXbJqXIqEBLAlPLM4VaRGDTIL0juv8JvggyyPpo-o2LxYZMJuztbWldSQwk_pvxS__stBRw3SIkJ_TQf6n3tAfEMJ944VlB8/s1600-h/ciel+15+Ang+St+02++t05+def+ritoc.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIxleSRSYaObTb3sqPNbaPWZhPJLg36mABBEsKv4oxEbOMXbJqXIqEBLAlPLM4VaRGDTIL0juv8JvggyyPpo-o2LxYZMJuztbWldSQwk_pvxS__stBRw3SIkJ_TQf6n3tAfEMJ944VlB8/s400/ciel+15+Ang+St+02++t05+def+ritoc.jpg" alt="" id="BLOGGER_PHOTO_ID_5174534682294076082" border="0" /></a><br /><span style="font-family:verdana;"><br />I</span><span style="font-family:verdana;">n collaborazione con l'architetto Luca Rolla, Milano.<br /></span><span style=";font-family:verdana;font-size:85%;" >tutti i diritti riservati, 2006.</span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-51143084707094806052008-03-04T02:17:00.000-08:002008-05-04T09:06:12.727-07:00Architecture is first of all thought<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfTO3nJg1A2P8n1q70PqC8jsLWD0ij6KVB9ACNFZpLm9HzhV5wzI5yuf2wG7nF6y6Zt_uFUNkj0mLJU-ylTSvXaM2qLE0R7iIt0Wv5sxshvYZMRlzX_zEnVe3rrmDYrbpJ_1yF0NGRbgQ/s1600-h/Casa+Circondariale+di+Asti++01.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfTO3nJg1A2P8n1q70PqC8jsLWD0ij6KVB9ACNFZpLm9HzhV5wzI5yuf2wG7nF6y6Zt_uFUNkj0mLJU-ylTSvXaM2qLE0R7iIt0Wv5sxshvYZMRlzX_zEnVe3rrmDYrbpJ_1yF0NGRbgQ/s400/Casa+Circondariale+di+Asti++01.jpg" alt="" id="BLOGGER_PHOTO_ID_5173841388435544194" border="0" /></a><br /><span style="font-family:verdana;">Un mio collega architetto (e pittore meraviglioso, sono suoi i meravigliosi disegni a mano), <span style="font-weight: bold;">Alberto Bertini</span>, mi ha contattato con questa (s)commessa. Un suo cliente aveva da realizzare una officina da fabbro all'interno del comprensorio carcerario di Asti. Non era il primo intervento di questo genere, </span><span style="font-family:verdana;">teso ad integrare la</span><span style="font-family:verdana;"> riabilitazione degli ospiti (training in un mestiere) ad una sana convenienza economica (mano d'opera convenzionata), </span><span style="font-family:verdana;">realizzato dal cliente</span><span style="font-family:verdana;">. Interventi di questo tipo sono condannati però ad una schiacciante logica economica, che condiziona</span><span style="font-family:verdana;"> le scelte realizzative a tipologie costruttive temporanee (TENDE), e ad appalto a ribasso.<br /></span><br /><span style="font-family:verdana;">Tutte questo realizzando ambienti sicuramente NON <span style="font-style: italic;">brutti</span>, ma qualitativamente <span style="font-style: italic;">inadeguati</span>. Ad Asti fa caldo d'estate, freddo d'inverno, e per lunghe permanenze in presenza di attività rumorose, le qualità acustiche della tenda sono alienanti.<br /></span> <span style="font-family:verdana;">Mio collega muoriva dalla voglia di fare di più, dal desiderio che si facesse di più</span><span style="font-family:verdana;">, che si facesse una vera <span style="font-style: italic;">architettura</span>, ed è stato generoso nel coinvolgermi. Mi ha messo dunque <span style="font-weight: bold;">in concorrenza con una tenda</span>.<br /><br /></span><span style="font-family:verdana;">Quello che serviva dunque era un pensiero <span style="font-style: italic;">strategico</span>.</span><br /><br /><span style="font-family:verdana;">L'obiettivo era di fare architettura, e non semplicemente una costruzione.<br />Questo significa, che se deve funzionare, deve assolvere <span style="font-style: italic;">molteplici</span> funzioni, e per molteplici soggetti: non solo i committenti, non solo gli utenti, o i beneficiari, ma anche la società, la cultura, l'architetto! La differenza fra mangiare e desinare, insomma...</span><br /><br /><span style="font-family:verdana;">Inoltre, per essere architettura, tutte le sue fasi (dall'idea, al progetto, al cantiere, all'oggetto stesso) non potevano sottrarsi da quel minimo di autoreferenzialità e consapevolezza, insito di qualsiasi oggetto artistico e non meramente tecnico, capace di proiettare l'oggetto dall'ambito dei <span style="font-style: italic;">significati</span> nella sfera del <span style="font-style: italic;">senso</span>. Vi deve essere almeno uno spazio, per quanto piccolo cmq essenziale, per l'esercizio di scelta. Questo non significa desiderio di <span style="font-style: italic;">forma</span>, sebbene lo comprenda.<br /></span><br /><span style="font-family:verdana;">Questi sono i desideri, e ogni e qualsiasi attività sincera e veritiera dello spirito accede, anche se solo inizialmente, al <span style="font-style: italic;">desiderio</span>: perché il desiderio è embrione della <span style="font-style: italic;">volontà</span>.</span><br /><br /><span style="font-family:verdana;">Ancora una volta, è la <span style="font-style: italic;">formulazione del problema</span> che ha portato alla soluzione. Il problema, per riuscire ad esaudire <span style="font-style: italic;">tutti</span> i desideri, doveva porre condizioni parallele, muoversi in diverse direzioni <span style="font-style: italic;">contemporaneamente</span>. E ancora una volta sono stati i vincoli a fare da legante, a rendere "concreti" i desideri, e a fornire <span style="font-style: italic;">criteri decisionali al progetto</span>.</span><br /><br /><span style="font-family:verdana;">In questo caso il vincolo principale, quello economico, conduceva le danze. I costi principali sono quasi sempre il materiale (il lavoro incide per circa il 30% del costo di realizzazione, e la ottimizzazione del lavoro richiede interventi e innovazioni di processo,</span><span style="font-family:verdana;"> raramente possibili nel singolo intervento). La concorrenza della tenda imponeva</span><span style="font-family:verdana;"> scarnificare gli elementi ai suoi termini minimi. Quindi:</span><ul><li><span style="font-weight: bold;font-family:verdana;" >fondazioni </span><span style="font-weight: bold;font-family:verdana;" >a platea</span><span style="font-family:verdana;">, in modo che fossero già piano di lavoro con armatura sempli</span><span style="font-family:verdana;">ce. Essa sfruttava i tombini esistenti per eventuali scarichi, e presentava un vantaggio aggiuntivo: Per motivi di tempi di realizzazione, non era possibile un iter burocratico completo per la richiesta di una struttura permanente. Dunque la struttura, sebbene progettata con criteri di sicurezza di una struttura permanente, doveva risultare rimovibile, almeno teoricamente. La eventuale rimozione avrebbe esposto la platea, che comunque avrebbe continuato a fungere da piazzale funzionale.</span></li><li><span style="font-family:verdana;"><span style="font-weight: bold;">Struttura in ferro</span>: Sebbene il materiale di base è più costoso, esso è</span><span style="font-family:verdana;"> componibile (quindi con trasporti più economici), </span><span style="font-family:verdana;">lavorabile dagli stessi ospiti, e</span><span style="font-family:verdana;"> smontabile. Qui noterete inoltre un legame <span style="font-style: italic;">semico</span> con la destinazione finale.</span></li></ul><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibT6rq2znoj5iBMHhCMfwW7jtxHoJOMm7Px_p2-Bfbt30Avqepr89wboYbNf6dGffwHQAmP-U-CMBWp-V1ZwtirgmcbZfJt2QhbckEBkI6nTpTXQPi4LxfuSjpiMX6_LjPG3UKnLYGV98/s1600-h/Casa+Circondariale+di+Asti+4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibT6rq2znoj5iBMHhCMfwW7jtxHoJOMm7Px_p2-Bfbt30Avqepr89wboYbNf6dGffwHQAmP-U-CMBWp-V1ZwtirgmcbZfJt2QhbckEBkI6nTpTXQPi4LxfuSjpiMX6_LjPG3UKnLYGV98/s400/Casa+Circondariale+di+Asti+4.jpg" alt="" id="BLOGGER_PHOTO_ID_5173848054224787618" border="0" /></a><ul><li><span style="font-family:verdana;"><span style="font-weight: bold;">Tipologia strutturale.</span> Questo, assieme al ragionamento sul tamponamento, è <span style="font-style: italic; font-weight: bold;">il colpo d'ala</span>, che trasforma l'oggetto da un capannone in un oggetto di <span style="font-style: italic;">architettura</span>. Il ragionamento era il seguente. Un costo importante dei capannoni è costituito dalle travi a grandi luci. Se si fosse adottata <span style="font-style: italic;">una tipologia corrente</span> per i capannoni, <span style="font-style: italic;">con orditura strutturale trasversale</span>, non</span><span style="font-family:verdana;"> solo sarebbero stati inevitabili, ma anche <span style="font-weight: bold;">numerosi</span>.<br /></span></li></ul><span style="font-family:verdana;"><br /></span><ul><li><span style="font-family:verdana;"><span style="font-weight: bold; font-style: italic;">Definendo </span></span><span style="font-family:verdana;"><span style="font-weight: bold; font-style: italic;">bene </span></span><span style="font-family:verdana;"><span style="font-style: italic;">però </span><span style="font-weight: bold; font-style: italic;">il problema</span> <span style="font-weight: bold; font-style: italic;">specifico</span> di <span style="font-style: italic;">questo</span> capannone (e non un altro), tenendo conto cioé (1) delle tipologie di oggetti realizzati al suo interno (piccoli oggetti di arredo urbano, per cui non serviva carro ponte e bastava un muletto) (2) ragionando sulla distribuzione delle funzioni, compresa la logistica, magazzino a cielo aperto (richiesto specificatamente dal committente), si poteva valutare come accettabile la presenza di un (1 di numero) pilastro all'interno dell'area di lavorazione, che anzi poteva essere utile come appoggio per prese di corrente, quadri ecc, oppure per proteggere pluviali (tombini esistenti all'interno dell'area di lavorazione).<br /></span></li></ul><div style="text-align: center;"> <span style="font-weight: bold;font-family:verdana;" > ruotando quindi la struttura in senso longitudinale, era possibile ridurre</span><span style="font-weight: bold;font-family:verdana;" > l'utlizzo di travi a grandi luci ad UNA<br /><br /><br /></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitogtTJf01urxhKWczM8JF9AvzLhJvn2jjODkyDwvNmgYF9pU4SppviihyXcMfmeRsBK3pxoxe-9UbS4B9Ved7sZVI3P19UrDeI_kfrmsWa_I37HiXF8lMBbesZyxWYkyFvxCfUJvgSVo/s1600-h/Casa+Circondariale+di+Asti+6+copy.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitogtTJf01urxhKWczM8JF9AvzLhJvn2jjODkyDwvNmgYF9pU4SppviihyXcMfmeRsBK3pxoxe-9UbS4B9Ved7sZVI3P19UrDeI_kfrmsWa_I37HiXF8lMBbesZyxWYkyFvxCfUJvgSVo/s400/Casa+Circondariale+di+Asti+6+copy.jpg" alt="" id="BLOGGER_PHOTO_ID_5173850596845426866" border="0" /></a><ul><li><span style="font-family:verdana;"><span style="font-weight: bold;">tamponamento</span>: Per ridurre ulteriormente i costi, bisognava ridurre il numero di lavorazioni a quelle strettamente necessarie</span><span style="font-family:verdana;"> ed essenziali (quindi se possibile far coincidere il rustico al finito)</span><span style="font-family:verdana;">. L'intuizione immediata (coadiuvata da alcune realizzazioni di pelli continue in poliuretano) è stata: Il capannone è una capanna grande, è un tetto con qualche aggiunta. esso serve per escludere gli agenti non sempre benigni del cielo. Un tetto, a parte struttura, è impermeabilizzazione, coibentazione, e finitura. Un costo significativo è costituito dal manto e dalla lattoneria, che secondo me erano dispensabili. Questa la <span style="font-style: italic;">strategia</span>. Mentre l'impermeabilizzazione garantisce la funzione primaria del tetto, e quindi costituisce un suo elemento costitutivo. Quindi: lasciare il capannone finito con la sola impermeabilizzazione, e far coincidere la coibentazione termica (meglio se anche acustica) al supporto del "manto" definitivo. Eraclit o celenit (che in alcune sue forniture ha la rigidezza sufficiente a rendere praticabile, dunque realizzabile, il tetto) come supporto, e per la finitura: o <span style="font-weight: bold;">bitume</span> (bella la bestia nera di vulcano, oppure spruzzata di sabbie colorate per decorare), oppure<span style="font-weight: bold;"> tegole</span> canandesi (le varie colorazioni permettevano la realizzazione di un pesce magico iridescente, con richiami di Tagliabue). Il poliuretano è stato scartato perché troppo esotico, dunque più costoso.<br /></span></li></ul><span style="font-family:verdana;"> Ciascuna di queste soluzioni avrebbe permesso di coprire in modo monolitico o cmq continuo tutte le discontinuità di materiale sottostante, permettendo di raccordare le lastre di internet con mezzi di fortuna (per esempio, tubi di gebernit tagliati in quarti), creando naturalmente le "canaline" di raccolta e permettendo di sfruttare le pendenze "pettinate" (è una mia firma), anche <span style="font-style: italic;">a lunghe distanze</span>.<br /><br />Un mio assistente - che avendo tutto il contenuto del mio server in backup mi <span style="font-style: italic;">ricatta</span> per condividere la firma di questo progetto (non avendone di suoi) a costo di rifiutare di riconoscere formalemente e legalmente attraverso accordo scritto i diritti su ben altri progetti - ha avuto la fortuna di trovare per caso su internet un material interessante. Il <span style="font-style: italic;">derbigum</span>, un bitume a rotoli accoppiato con strato <span style="font-style: italic;">bianco</span>, e applicato a fiamma o incollato. Questo il suo unico merito, il culo, ma tant'è...<br /><br />Che una <span style="font-weight: bold;">balena bianca</span> sia!<br /><br /><span style="font-weight: bold;">Il risultato di questi ragionamenti, è una forma che ricorda da vicino la tradizionale configurazione a shed, ma </span><span style="font-style: italic; font-weight: bold;">non lo è</span><span style="font-weight: bold;"> </span>(proprietà contrastandard di Walton)<br /><br /><span style="font-style: italic;">Habemus architecturam....</span><br /></span><span style="font-family:verdana;"><br />Il referente del cliente era entusiasta, il direttore del carcere estasiato, i fornitori hanno chiesto <span style="font-style: italic;">favori </span>ai produttori e ai trasportatori. Ma a 230 €/mq, costava comunque troppo.<br /><br /></span><span style="font-family:verdana;">Pensiamoci.</span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-23891919061949727892008-02-26T03:21:00.000-08:002008-05-04T09:01:35.592-07:00Step 5: Bishop's Night Move<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh26YsbGRjgCXIedjZBiu-PRZ9WnT590mRdMOsft_EHampl6g2gZ9LGqWSqAzc_cCTZtuL8opSacnnz0qXy09tuCUzRoNnIKkQpSm8hkkPMOtdgzRDXZmZjLVmeNVS7La6jCwkLpnelRYM/s1600-h/05+berkeley+copy.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh26YsbGRjgCXIedjZBiu-PRZ9WnT590mRdMOsft_EHampl6g2gZ9LGqWSqAzc_cCTZtuL8opSacnnz0qXy09tuCUzRoNnIKkQpSm8hkkPMOtdgzRDXZmZjLVmeNVS7La6jCwkLpnelRYM/s400/05+berkeley+copy.jpg" alt="" id="BLOGGER_PHOTO_ID_5171274096929596018" border="0" /></a><span style="font-family: verdana;">E(a)vesdropping...</span><br /><br /><br /><span style="font-family:verdana;">Il vescovo Berkeley incontra Wittgenstein...a mad romp through philosophy.<br /><br />Poesia di Wallace Stevens...uno che ti fa assaggiare il verde delle tende rosse di Caravaggio.<br /><br />(we are such stuff...)<br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-43075600298657435622008-02-21T01:39:00.000-08:002008-07-24T07:20:55.333-07:00Un buon professionista ti dà problemi, per incominciare<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU8RDfEto6yEuYj6qzqlapiowAisZBz2VHE6mlGx19LHxZWQ3WKoDAH7pBbHObxft2Moh5wI7q8Ofq-9MYfAn_81Mh8H4YFjONX6Lo92euJsk75GcMO7SXC5pzXwc3zzALVK7vWw8sULg/s1600-h/sojour.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU8RDfEto6yEuYj6qzqlapiowAisZBz2VHE6mlGx19LHxZWQ3WKoDAH7pBbHObxft2Moh5wI7q8Ofq-9MYfAn_81Mh8H4YFjONX6Lo92euJsk75GcMO7SXC5pzXwc3zzALVK7vWw8sULg/s400/sojour.jpg" alt="" id="BLOGGER_PHOTO_ID_5169366465730241058" border="0" /></a><span style="font-family:verdana;">Il cliente <span style="font-style: italic;">crede </span>di andare dal professionista per avere soluzioni. Un cattivo professionista gliele dà, anche subito.<br /><br />Un buon professionista, invece, gli dà solo problemi, all'inizio. Il professionista è colui che risolve problemi, un buon professionista risolve buoni problemi bene. E solo un buon professionista può darti problemi buoni.<br /><br />Da un problema, bello e buono, escono le soluzioni in men che si dica, e saranno soluzioni belle e buone.<br /><br /></span><span style="font-family:verdana;">Almeno, è una condizione necessaria, se non sufficiente.<br /><br /></span><span style="font-family:verdana;">Per esempio. Il cliente tipo bussa alla porta e ti </span><span style="font-family:verdana;">chiede una pensilina. Il cattivo professionista apre il suo catalogo, se ne sceglie una, magari una che ha sempre voluto fare, che ha visto in un sacco di riviste...e te la disegna, magari anche bene...ma non sarà un progetto. Al limite sarà un </span><span style="font-family:verdana;">questionario.<br /><br />Un buon professionista invece risponde con un problema: hai bisogno di riparare l'accesso dalla pioggia e dalla neve , ma non dal vento, e non dagli sguardi indiscreti (tanto meno dallo sguardo del sole...) Anzi, questa area è un dehors estivo; anzi, questo elemento è un </span><span style="font-family:verdana;">elemento richiamo che serve. Inoltre hai bisogno di una zona gioco bimbi protetta ma visibile dal secondo piano ... ecc ecc.<br /><br /></span><span style="font-family:verdana;">Questo cliente è venuto da me chiedendo di rinfrescare e risistemare un soggiorno. Dove mettere il divano (pregiato), come rifoderarlo al limite...un rinfrescatina, insomma, lei è l'architetto, usi il suo estro!<br /><br />Il mio approcio era quello di far raccontare, ed è emerso che lo spazio, molto ardito all'epoca di costruzione, sebbene completo e ricco spazialmente, non era </span><span style="font-family:verdana;">rispondente alle esigenze "temporali". Si trattava, si, <span style="font-style: italic;">anche</span> di <span>adeguare</span> uno spazio a svariate ed incompatibili funzioni che aveva acquisito attraverso la consuetudine (soggiorno intimo, ufficio notturno, salotto della domenica per la famiglia che si amplia, pranzo e caffé, ecc ecc), ma soprattutto di cogliere come queste funzioni erano <span style="font-style: italic;">articolate e distribuite nel tempo</span>, e di gestire inevitabili <span style="font-style: italic;">sovrapposizioni</span> temporali.<br /></span><br /><span style="font-family:verdana;">Cioé un <span style="font-style: italic;">progetto del tempo</span>, non tanto dello spazio. Quindi <span style="font-style: italic;">interattività</span> (e dunque <span style="font-style: italic;">gioco</span>).<br /><br />Il problema aveva una <span style="font-style: italic;">conditio</span> risolutrice. Il cliente era un costruttore grande e capace: la casa era attempata nel linguaggio ma in perfetto ordine e come nuova. Si trattava di progettare il tutto senza opere edili, paradossalmente.<br /><br /></span><span style="font-family:verdana;">Per me andava bene, entrare ed uscire in punta di piedi, con una grande discrezione torinese. Understatement. </span><span style="font-family:verdana;"><br /></span><br /><span style="font-family:verdana;">E grande rapidità. (Progettare pure il tempo di progetto...)</span><br /><span style="font-family:verdana;"><br />La soluzione è uscita in quattro quattr'otto. (ho messo tempo - troppo tempo - a presentare, perché collaudavo due nuove socie - che non hanno saputo fornire alcuna soluzione ne produrre disegni utili - ma all'epoca non avevo ancora aperto gli occhi, e adesso mi fanno causa accampando diritti - e io ho perso il cliente).<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf6_NUP_m9ymve2-9ElSb12vJCsTrAtBmuCZKuL7JaQx4QsyQBFxLYwWXmcVbqHTjf1twbfVDb9pygtKBfiseqYA_xKhJCLVMBhEDlRS1ruHX6FBF1FWaOT5uB84S1AQr6i6OItLsjCr8/s1600-h/GRIGLIA+COMPLETA.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf6_NUP_m9ymve2-9ElSb12vJCsTrAtBmuCZKuL7JaQx4QsyQBFxLYwWXmcVbqHTjf1twbfVDb9pygtKBfiseqYA_xKhJCLVMBhEDlRS1ruHX6FBF1FWaOT5uB84S1AQr6i6OItLsjCr8/s400/GRIGLIA+COMPLETA.jpg" alt="" id="BLOGGER_PHOTO_ID_5169426298919641698" border="0" /></a><span style="font-family:verdana;">Si configurava come <span style="font-style: italic;">un gioco</span>: erano tre gli elementi.<br /></span><ul><li><span style="font-family:verdana;"><span style="font-weight: bold;">il tappeto</span>: significati: di qui e non la, soglia, passaggio. Usato in modo inconsueto e innovativo, come una pennellata, per compromettere il senso ordinario di uno spazio come una serie di strati (pavimento, parete, soffitto) E che tappetti!</span></li><li><span style="font-family:verdana;"><span style="font-weight: bold;">la tenda: </span>significati: il termine minimo di divisorio, dentro/fuori, intimità/accoglienza, interattività architettonica. Coniugato con morbidezza, il gioco </span><span style="font-family:verdana;">della luce, colore, tessitura, eventualmente anche suono.</span></li><li><span style="font-family:verdana;"><span style="font-weight: bold;">i mobili</span>: significati: funzione, identità, lealtà. La disposizione dei mobili era plurima e variabile, perdendo la loro connotazione istituzionale per diventare elementi di gioco con gli altre tre elementi.</span></li></ul><span style="font-family:verdana;">Tutta la presentazione acquistava il sapore di <span style="font-style: italic;">gioco-algoritmo</span>. Sono state individuate tre configurazioni di ciascun elemento sistema, debitamente siglate, e stampate su fogli di acetato sovraponibile. (la griglia allegata era una fetta bidimensionale della griglia completa).<br /><br />Il cliente è stato invitato a giocare col mischiare le schede, scegliende la configurazione più gradita. Dalla sovrapposizione degli acetati compariva la sigla della combinazione da realizzare.<br /><br /><br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-31073136249981777422008-02-20T04:07:00.001-08:002008-05-04T09:01:40.835-07:00Step 4: l'indiscernibilità di non-identici, e, certamente, Cervantes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7I6sDGgcoH4Z8wy_VDn2HvvmKMvxwRnwNXfZkLjJxVGZ42FIEaHQy8ho1VBCidOnUMMQIPABhXV6_A6vgLcWYY3f7Cvt2l7oGmWTl15GU9YZWyF48DVEwj4BhYLRHZLtOhkpKVGvF74I/s1600-h/04+pierre+menard.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7I6sDGgcoH4Z8wy_VDn2HvvmKMvxwRnwNXfZkLjJxVGZ42FIEaHQy8ho1VBCidOnUMMQIPABhXV6_A6vgLcWYY3f7Cvt2l7oGmWTl15GU9YZWyF48DVEwj4BhYLRHZLtOhkpKVGvF74I/s400/04+pierre+menard.jpg" alt="" id="BLOGGER_PHOTO_ID_5169034224240091666" border="0" /></a><br /><span style="font-size:85%;"><span style="font-family:arial;">Di proposito, non cito l'autore di pierre menard...logico, no?</span></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-45092649621852122702008-02-19T06:25:00.000-08:002008-05-04T09:01:45.845-07:00Step 3: palazzo innevato<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilVfNGyNhNsAGM292SkGSegZTVipt8T9Z3w5Jkmec3XWp9SZMxkycH1OdhWny7dkI4hZSnzu4Avo5SXVDPEJnvn9zX9cOTwgkX_GMZIVSjE-38sDZuK3GdZNsNHHjl3ZTbp6yycbTsqbY/s1600-h/03+compliance+class.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilVfNGyNhNsAGM292SkGSegZTVipt8T9Z3w5Jkmec3XWp9SZMxkycH1OdhWny7dkI4hZSnzu4Avo5SXVDPEJnvn9zX9cOTwgkX_GMZIVSjE-38sDZuK3GdZNsNHHjl3ZTbp6yycbTsqbY/s400/03+compliance+class.jpg" alt="" id="BLOGGER_PHOTO_ID_5168699955525378562" border="0" /></a><span style="font-family: arial;font-family:verdana;font-size:100%;" ><br /></span><span style="font-size:100%;"><span style="font-family: arial;font-size:100%;" >After Ulysses's boat, a classic problem of identity, and the introduction of the Pirate theme, through an exemplification of cultural piracy, (eCESSIvamente banale), a BAD reading of Nelson GOODman, poor chap.<br /><br />The glyph on the right, which could be interpreted as being a stylised high-rise on a snowy field (thanks ballard) is a computer transcription (or <span style="font-style: italic;">reading</span>) of a generic text. A <span style="font-style: italic;">model</span> of interpretation, through a <span style="font-style: italic;">well-defined algorithm</span>. To be noticed is the failure of a <span style="font-style: italic;">one-to-one mapping</span> between the model and the object represented, between text and transcription. A model for criticism, therefore, but not only: there is also the concept of <span style="font-style: italic;">improper uses</span>, <span style="font-style: italic;">second ends</span>, the <span style="font-style: italic;">lability</span> of the real, ecc ecc.<br /><br /><span style="font-style: italic;">Extreme</span> consequences.</span><br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-9235068158232792922008-02-19T05:56:00.000-08:002008-05-04T09:06:12.729-07:00l'architetto sfaccendato<span style=";font-family:arial;font-size:100%;" >Perché, insomma!, il te<span style="font-style: italic;">atro</span>? Per una prospettiva storica, direi. Una volta l'architetto sfaccendato si dava a far scena progettando scenografie. <span style="font-style: italic;">Architettava</span>, cioé, <span style="font-style: italic;">la rappresentazione. </span>L'emblema era il teatro, e il teatro ha finito col calare il suo sipario sulla sua arte.<br /><br />L'<span style="font-style: italic;">esercizio</span> di teatro sotto, invece, prende qualche grado di distanza da tutto ciò, e si vuole un piccolo <span style="font-style: italic;">metatesto</span> a metà fra testa e mano (o gambe all'aria che siano - e denti, mettiamoci pure i <span style="font-style: italic;">denti</span>). Riguardare una storia personale per inscenare una fuga storica verso i nostri futuri passati.<br /><br />E oggi? L'architetto sfaccendato architetta <span style="font-style: italic;">l'informazione</span>.<br /><span style=""><span style="font-style: italic;">(Sono sempre io che lo dico, o dicevo, non saprei oltre...è una brutta e infinita storia sfinente di specchi, che vi sto piano piano raccontando)</span></span><br />L'emblema dunque è la <span style="font-style: italic;">biblioteca,</span> che è una <span style="font-style: italic;">tecnologia</span>, per le quali la rappresentazione è un mezzo ma non una finalità...quante storie mitiche affollano e confondono la mente...ma resistete!, è solo un emblema.<br /><br /><span style="font-style: italic;">Architettare il senso</span>. E la logica, di cui si occuperà questa superficie semica per un bel po'...la <span style="font-weight: bold;">logica</span>, dicevo, è <span style="font-weight: bold;">l'acciaio</span> di questa architettura.<br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-76600428303497592462008-02-17T06:46:00.001-08:002008-05-04T09:06:12.731-07:00Origliare con l'orecchio sul cuscino<a style="font-family: arial;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxmaQjIY4s7R2oLPkvjLXCAUXjeShrivXTjl1ttXRXh4PwpmBU2R-h8U_x05VS7MkP5Vm2ljMUrwOXPUKs1IWRjbMQgF3WZwU6RiSoO9ei6DnIHwCH7eJhcxZwR6igCGBAL9HE160_aGk/s1600-h/teatrare002.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxmaQjIY4s7R2oLPkvjLXCAUXjeShrivXTjl1ttXRXh4PwpmBU2R-h8U_x05VS7MkP5Vm2ljMUrwOXPUKs1IWRjbMQgF3WZwU6RiSoO9ei6DnIHwCH7eJhcxZwR6igCGBAL9HE160_aGk/s400/teatrare002.jpg" alt="" id="BLOGGER_PHOTO_ID_5167966220492399090" border="0" /></a><br /><span style="font-size:100%;"><br /><span style=";font-family:verdana;font-size:100%;" >La conchiglia ripropone il disegno tipico, iconico del teatro. Ma vi sono differenze. Occhio e orecchio alle differenze.... </span><span style=";font-family:verdana;font-size:100%;" ><br /><br />Il corriodoio crea due zone distinte, entrambe incentrate sull'asse del cono che genera la platea. Eppure ci si accorge subito che questa relazione non è più univoca.<br /><br /></span> <span style=";font-family:verdana;font-size:100%;" >Le due zone, seppure entrambe incentrate su di un unico fuoco, hanno due percezione ben diverse e distinte. La zona a sinistra è raccolta in modo apparentemente canonico, ma volete </span> <span style=";font-family:verdana;font-size:100%;" >causa la parete volete causa l'eccentricità del fuoco, è evidente che le condizioni di </span><span style="font-style: italic;font-family:verdana;font-size:100%;" >equilibrio drammatico</span><span style=";font-family:verdana;font-size:100%;" > sono del tutto mutate.<br /><br /></span> <span style=";font-family:verdana;font-size:100%;" >Il campo rappresentativo non è più solo profondo, ma anche </span><span style="font-style: italic;font-family:verdana;font-size:100%;" >lontano</span><span style=";font-family:verdana;font-size:100%;" >. La seconda zona presenta una esperienza del tutto diversa dalla prima. Questa zona è quasi parallela alla scena. Situazione che nel tipo originario "romano" non dava fastidio e non presentava alcuna problematicità, in quanto in quel tipo di teatro, la scena si "immetteva" nel pubblico.<br /><br /></span> <span style=";font-family:verdana;font-size:100%;" >Il nostro teatro, per contro, è a proscenio, quindi la situazione è sottilmente diversa.<br />Notate che si confronta direttamente con il lato corto del fondo scena. Ciò ci permette di organizzare la "azione della rappresentazione" in modo dinamico, giocando sullo spostamento dei punti di vista privilegiati, in modo che le due zono vedono spettacoli diversi e, addirittura, </span><span style="font-style: italic;font-family:verdana;font-size:100%;" >distinti</span><span style=";font-family:verdana;font-size:100%;" >.<br /><br /></span> <span style=";font-family:verdana;font-size:100%;" >Subito vengono in mente variazioni sul tema.<br /><br /></span> <span style=";font-family:verdana;font-size:100%;" >Se la platea fosse centrata su di un punto diverso da quello suggerito dallo spigolo del fondo scena? In questo caso, si avrebbe la situazione singolare che spettatori della stessa fila assisterebbero allo spettacolo da diverse altezze.</span><span style=";font-family:arial;font-size:100%;" > </span><span style=";font-family:verdana;font-size:100%;" >E se le due zone avessero addirituttra due centri diversi?<br /></span> <span style=";font-family:verdana;font-size:100%;" >Se le file delle poltrone fossero progettate da poter cambiare questi centri a secondo dei </span> <span style=";font-family:verdana;font-size:100%;" >casi?<br /><br /></span> <span style=";font-family:verdana;font-size:100%;" >Ribadiamo che il disegno non è nato da considerazioni formali. Il gusto del taglio, del frammento....No. Notate che nel disegno iniziale l'incontro fra le file e la parete è ortogonale: esprime cioé non il desiderio di troncare, ma di escludere.</span><span style=";font-family:arial;font-size:100%;" > </span><span style=";font-family:verdana;font-size:100%;" >Il disegno del taglio è nato da una riflessione sui diversi modi di vivere e di godere del teatro, da una ricerca sulle possibilità spaziali di una spazio di rappresentazione.<br /><br /></span> <span style=";font-family:verdana;font-size:100%;" >Tre dimensioni, dunque, non solo una pianta. Le nostre intenzioni sono da ricercare nelle sensazione che dovrebbe suscitare quel muro che come un enorme paraocchio cela una parte della scena dove pure si svolgerà parte dell'azione. Pensiamo al senso di capovolgimento percettivo,che nasce nell'assistere ad uno spettacolo accanto a questo piano, coricato su questo piano...<br /><br /></span> <span style="font-family:verdana;"><span style=";font-family:arial;font-size:100%;" >Uno </span><span style="font-style: italic;font-family:arial;font-size:100%;" >spettacolo</span><span style=";font-family:arial;font-size:100%;" > che magari non si </span><span style="font-style: italic;font-family:arial;font-size:100%;" >vede</span><span style=";font-family:arial;font-size:100%;" ><span style="font-size:100%;"> per intero, che magari solo origliamo<br />...l'orecchio sul cuscino ad origliare sogni.</span><br /></span><br /></span></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-73146297499131647282008-02-17T06:14:00.001-08:002008-05-04T09:02:24.925-07:00Step 2: Essenzialismo e l'esistenza degli oggetti<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieLA7GslHf4KaYEaChwi4MhgyZZAf4ECeHQxLz0v8u2XZdZViT28e9mbxDJtMQlzPO3p7xDsM5Ozv7Qell5b1LxUZGyPEpPgahmcoqtfL4VHk-lmiQ7YHPl9UAIThfbazfBCrnvAQrFEU/s1600-h/02+la+barca+di+ulisse+02.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieLA7GslHf4KaYEaChwi4MhgyZZAf4ECeHQxLz0v8u2XZdZViT28e9mbxDJtMQlzPO3p7xDsM5Ozv7Qell5b1LxUZGyPEpPgahmcoqtfL4VHk-lmiQ7YHPl9UAIThfbazfBCrnvAQrFEU/s400/02+la+barca+di+ulisse+02.jpg" alt="" id="BLOGGER_PHOTO_ID_5167952631215874514" border="0" /></a><br /><span style="font-style: italic;"><br /><br /></span><span style=";font-family:verdana;font-size:100%;" ><span style="font-family:arial;">Ulisse parte per la guerra. E la guerra si sa, fa molte vittime. <br />E Nessuno sopravvive.</span><br /></span><span style="font-style: italic;"><span style="font-size:100%;"><span style="font-style: italic;"></span></span><br /></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-16395210913673459422008-02-15T01:08:00.001-08:002008-05-04T09:01:35.602-07:00Step 1: se non erro, se erre allora pi e qu<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-wA7opMW7ssRsV7Xhuuh2U7JHWUPNJFczmgiuLkBLeUF-tq-JN4mO4u8t-EdPQ7ISdAP9zFpi7ZPQIQVTZYvcJWL8mAC505qGJM7ihIjzt15APdjzTpiXfZN1wHYnY0Ix7Plb-Tc8D1A/s1600-h/01+upbuilding+02+daccapo+02.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 280px; height: 390px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-wA7opMW7ssRsV7Xhuuh2U7JHWUPNJFczmgiuLkBLeUF-tq-JN4mO4u8t-EdPQ7ISdAP9zFpi7ZPQIQVTZYvcJWL8mAC505qGJM7ihIjzt15APdjzTpiXfZN1wHYnY0Ix7Plb-Tc8D1A/s400/01+upbuilding+02+daccapo+02.jpg" alt="" id="BLOGGER_PHOTO_ID_5167950204559352258" border="0" /></a><span style=";font-family:verdana;font-size:100%;" ><span style="font-family:arial;"><span style="font-style: italic;">Daccapo.</span> Ancor prima di considerare creativa la critica, occupiamoci delle sue vesti più mondane, consideriamo i suoi compiti più quotidiani, quelli che ci meravigliano e per cui proviamo sconforto qualora affrontati dalla loro crisi, la crisi della critica.</span><br /><span style="font-family:arial;">Sebbene della critica non sia chiaro quale compito sia principale, se </span></span><span style="font-family:verdana;"><span style=";font-family:arial;font-size:100%;" ><span style="font-style: italic;">conoscere</span> o <span style="font-style: italic;">valutare</span>...</span><span style="font-size:100%;"><br /><br /><br /><br /></span><span style="font-style: italic;font-size:85%;" ><span style="font-family:arial;font-size:100%;">si incomincia così, 30 schede per la libertà (arriba il don errante...)</span><br /><br /></span></span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0tag:blogger.com,1999:blog-356290490852504607.post-64509325328497721152008-02-13T06:48:00.000-08:002008-05-04T09:01:35.604-07:00daccapo (se il sangue non è acqua)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW0MjPObwfPFjikK0GTwa0ptL4dQSDcjqPcBYQYYVAQX0dtZEP0gUw8bEu9MmeLwuJ9-G51z5ojZ_KNdNuEhNoWy_95U3n_hu9qE4Lt3tLcszGm3NkvFFcXazACWTEUMPYNHtqlXM7Ca8/s1600-h/normal_vigile.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW0MjPObwfPFjikK0GTwa0ptL4dQSDcjqPcBYQYYVAQX0dtZEP0gUw8bEu9MmeLwuJ9-G51z5ojZ_KNdNuEhNoWy_95U3n_hu9qE4Lt3tLcszGm3NkvFFcXazACWTEUMPYNHtqlXM7Ca8/s320/normal_vigile.jpg" alt="" id="BLOGGER_PHOTO_ID_5166484860502204738" border="0" /></a><br /><span style="font-family:trebuchet ms;"><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style="font-family:arial;"></span></span><span style="font-family: arial;font-family:trebuchet ms;" >se il sangue non è acqua, allora bisogna mettere da parte l'ipocrisia e la comoda pigrizia e mettersi in gioco.</span><span style="font-family: arial;font-family:trebuchet ms;" > Loro hanno osato, e hanno fatto bene. Bene ad osare e bene il progetto. Bando ai vigili, siamo vigili.</span><span style="font-family: arial;font-family:trebuchet ms;" > Per vincere la pigrizia e il pudore piemontese, incomincio con un summa d'altri ieri. a presto, </span><span style="font-family: arial;font-family:trebuchet ms;" ><span style="font-weight: bold;">daccapo</span>.</span>piero camoletto (mankey)http://www.blogger.com/profile/12697280075715104040noreply@blogger.com0