tag:blogger.com,1999:blog-43430976423957774892024-02-07T14:59:06.665+01:00Architettura e Modernità. Dal Bauhaus alla rivoluzione informatica.Il blog serve a inserire materiali fotografici e video di qualità. Si può contribuire inviando indicazioni nei commenti a ciascuna opera.Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-4343097642395777489.post-36879552346221755262012-03-01T19:19:00.002+01:002021-02-03T12:00:37.478+01:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDcpBWWkyw1WtMSdt-oKSmI4QypbTLc5PL5Ft5BhMzp_fLot9Wps4uFhZIpLaevAss1aYNFZSB98Ws8tebdbyACap7EptNuPMqID-R_5X8naCHyglmFOHdcq16wPDxMUUpWbfqTruNRRI/s1600-h/Copertina.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5442625394429605106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDcpBWWkyw1WtMSdt-oKSmI4QypbTLc5PL5Ft5BhMzp_fLot9Wps4uFhZIpLaevAss1aYNFZSB98Ws8tebdbyACap7EptNuPMqID-R_5X8naCHyglmFOHdcq16wPDxMUUpWbfqTruNRRI/s400/Copertina.jpg" style="height: 575px; width: 420px;" /></a></b></div><div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: center;"><br /></div><div><span class="Apple-style-span" style="font-size: x-small; font-style: italic;"><br /></span>
<span class="Apple-style-span" style="font-family: "helvetica";"><i><i><span style="letter-spacing: 0px;">Dall’avvento di una architettura esplicitamente legata al mondo dell’industria alla rifondazione etica del secondo dopoguerra, dall’esplosione della società e dei consumi di massa, all’emergere delle nuove concezioni di contesto, di paesaggio, di ecologia e di informatica <i>Architettura e modernità. Dal Bauhaus alla rivoluzione informatica </i>ripercorre in forma saggistica, evidenziando i protagonisti e le vicende di maggiore centralità, gli ultimi otto decenni della storia dell’architettura contemporanea.</span></i></i></span></div><div><span style="font-family: helvetica;"><span><i><br /></i></span></span>
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<i><i><span style="letter-spacing: 0px;">Concepito completamente ex novo, il volume si distingue dai manuali che offrono una edizione ampliata di Storie dell’architettura nate attraverso chiavi interpretative di decenni or sono. La riscrittura del passato parte in questo libro dall’oggi ed è in rapporto all’emersione del paradigma informatico che caratterizza gli orientamenti più innovativi dell’attuale architettura. Il volume si inserisce così in una trattazione saggistica che trasmette il senso dell’impegno e delle responsabilità future, in una visione della Modernità come tensione sempre presente nelle grandi ricerche dell’architettura nell’affrontare le crisi di trasformazione che investono il mondo, la società e gli individui con un insieme di scelte estetiche, organizzative, tematiche e spaziali ad un tempo.</span></i></i></div>
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<span style="font-size: x-small;"><i><i><span style="letter-spacing: 0px;">Antonino Saggio, architetto, </span></i></i><i><i><span style="letter-spacing: 0px;">è il coordinatore del Dottorato di ricerca in Architettura Teorie e progetto, </span></i></i><i><i><span style="letter-spacing: 0px;"><span style="font-weight: normal;"> professore di Progettazione architettonica e urbana a Sapienza Università di Roma e membro del Dipartimento di Architettura e Progetto. Ha insegnato e tenuto conferenze all’estero. Dirige la collana “La Rivoluzione Informatica” che ha contribuito ad un rinnovamento del pensiero architettonico contemporaneo. Tra i suoi libri si ricordano: </span><i>Giuseppe Terragni. Vita e opere, </i><span style="font-weight: normal;">(Roma-Bari 2005), </span><i>Frank O. Gehry </i><span style="font-weight: normal;">(Torino, 1997), </span><i>Peter Eisenman. Trivellazioni nel futuro </i><span style="font-weight: normal;">(Torino, 1996), </span><i>Louis Sauer</i><span style="font-weight: normal;"> (Roma, 1988), </span><i>Giuseppe Pagano tra politica e architettura</i><span style="font-weight: normal;"> (1984) e per questo editore </span><i>Introduzione alla Rivoluzione informatica in architettura</i> (Roma, 1997)</span></i></i></span></div>
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<div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font-style: normal; font-variant-caps: normal; font-weight: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; min-height: 12px; text-align: right;"><br /></div><div class="separator" style="clear: both; font-style: italic; font-weight: bold; text-align: center;"><b style="text-align: left;"><div style="font-style: normal; font-weight: normal; text-align: center;"><i><span class="Apple-style-span"><br /></span></i></div><div style="font-style: normal; font-weight: normal; text-align: center;"><i><span class="Apple-style-span"><b><a href="http://www.arc1.uniroma1.it/saggio/libri/carocci/AntoninoSaggioArchitetturaeModernita.DalBauhausALaRivoluzioneInformatica.pdf">Scarica Overview del volume</a></b></span></i></div><div style="font-style: normal; font-weight: normal; text-align: center;"><i><span class="Apple-style-span"><br /></span></i></div><div style="font-style: normal; font-weight: normal; text-align: center;"><i><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-style: normal;"><b>Contiene: </b></span><b>Indice, Introduzione, Paragrafo e immagini iniziali di ognuna delle otto parti del volume, Indice dei nomi, Bibliografia</b></span></i></div></b></div><div class="separator" style="clear: both; font-style: italic; font-weight: bold; text-align: center;"><b style="text-align: left;"><br /></b></div><div class="separator" style="clear: both; font-style: italic; font-weight: bold; text-align: center;"><b style="text-align: left;"><br /></b></div><div class="separator" style="clear: both; font-style: italic; font-weight: bold; text-align: center;"><b style="text-align: left;"><br /></b></div><div class="separator" style="clear: both; font-style: italic; font-weight: bold; text-align: center;"><b style="text-align: left;">Alcune recensioni</b></div></div><div><b><i><br /></i></b>
<i><span class="Apple-style-span" style="font-size: small;">Paolo Ferrara <a href="http://www.antithesi.info/testi/testo_2.asp?ID=603">a</a>, </span></i></div><div><i><span class="Apple-style-span" style="font-size: small;">Chiara Testoni, </span><span class="Apple-style-span" style="font-size: small;"><a href="http://www.architetturadipietra.it/wp/?p=3954">b</a>, </span></i></div><div><i><span class="Apple-style-span" style="font-size: small;">Carlo Coppola <a href="http://www.lsdmagazine.com/architettura-e-modernita-lultimo-libro-di-nino-saggio-per-i-tipi-della-carocci/4682/">c</a>, </span></i></div><div><i><span class="Apple-style-span" style="font-size: small;">Brunetto de Battè <a href="http://www.antithesi.info/testi/testo_2.asp?ID=600">d</a>, </span></i></div><div><i><span class="Apple-style-span" style="font-size: small;">Roberto Gamba <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4_-3HPQmpKR4fl81LcMOEfnlZmIkHilATALNvQTSTRJSroh__JpffVPtNrRJ3odRkC1ZOxY85uQ7lP1kmxJuYT8WYY4rmr6_XvBs0-xd2Qyds1__Bx4OND4RA4eIgQPW0go-XUNMYnU/s1600/RobertoGambaItaloggi+17mar010.jpg">e</a>, <a href="http://www.arc1.uniroma1.it/saggio/Libri/Carocci/GambaCostruireinLaterizio135_64_65%20recensioni.pdf">j,</a> </span></i></div><div><i><span class="Apple-style-span" style="font-size: small;">Andrea Bonavoglia <a href="http://www.foglidarte.it/fogli-freschi-di-stampa/7-architettura-e-modernita-di-antonino-saggio.html">f</a> , </span></i></div><div><i><span class="Apple-style-span" style="font-size: small;">Antonello Marotta <a href="http://www.arc1.uniroma1.it/saggio/Libri/Carocci/AntonelloMarotta413Industria.pdf">g</a>, </span></i></div><div><i><span class="Apple-style-span" style="font-size: small;">Valerio Mosco<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg35R457uaxQ9dmNLRRmcwxdJfXT3jiyTs2eDYZ5w1O1FPN_7TAAXC7WTm0ynQglpYAzGzpanlo6gy5h7kBcqX_aeiQiEAfIl5bcj6XVhOQd9K7CkumMDD8PjHLNCuTYvJRaKJc81G9_Ys/s1600/ValerioMoscoAreaLuglio2010.jpg"> h</a>, </span></i></div><div><i><span class="Apple-style-span" style="font-size: small;">Cutrì, Causaurano, Vitale <a href="http://www.vg-hortus.it/index.php?option=com_content&view=article&id=1544:template-libri&catid=4:libri&Itemid=3">i</a> .</span></i><br />
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<i>Open class discussion </i></div><div><i>Dottorandi e studenti 2012 and video interview <a href="https://www.youtube.com/watch?v=YZyy06eMZJk">></a></i><br />
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<i>Approfondimento con Letture critiche a partire </i></div><div><i>dal volume da parte dei dottorandi 2016 </i><a href="https://lineediricercaphd31.wordpress.com/category/0_premessa-il-desiderio-di-conoscere/">>></a><br />
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<br /><div style="text-align: center;"><i><b><br /></b></i></div><div style="text-align: center;"><i><b>Presentazioni</b></i></div></div><div>
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<i>Livio Sacchi, Maurizio Unali e AS U. Pescara <a href="http://antoninosaggio.blogspot.com/2010/04/livio-sacchi-e-maruzio-unali-dibattono.html">a</a>, </i></div><div><i>Alessandro Anselmi, Franco Purini, Sacchi e AS InArch Roma, <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDV1_rHEQlx0I0ureytRvSTEQ_-1aiZrL7e4QwJWeCropxeaLWuyyg06q4EUTvWmDcMLur1G3fENWZLxnCP2bUAOsu60iS3RUI3v2j9QVDmdCFvjxoajwD2_bzgY4cHPVcqmxf_rjJz9Q/s1600/inarchsaggio.jpg">b</a>, </i></div><div><i>TTU Lecture series <a href="http://www.nitrosaggio.net/iQUuaderni/Conferenze/TTU/">c</a>, </i></div><div><i>Politecnico di Torino Lecture <a href="http://www.nitrosaggio.net/iQUuaderni/Conferenze/Torino/Index.htm">d</a>, </i></div><div><i>Polis University Tirana <a href="http://www.nitrosaggio.net/iQUuaderni/Conferenze/tirana/Index.htm">e</a>, </i></div><div><i>Università di Trieste <a href="http://www.nitrosaggio.net/iQUuaderni/Conferenze/trieste/Index.htm">g</a>, </i></div><div><i>Clup Milano, <a href="http://w3.uniroma1.it/arc1/saggio/Filmati/conferenze/ZanniSaggioMilano.mp3">f</a>, </i></div><div><i>Università di Matera, Sichenze, <a href="http://www.arc1.uniroma1.it/saggio/Conferenze/Matera/Index.htm">g</a>, </i></div><div><i>Università la Sapienza, Greco, <a href="http://www.arc1.uniroma1.it/saggio/Conferenze/Roma/Greco2015.htm">f</a></i><br />
<br /><div style="text-align: center;"><i><b><br /></b></i></div><div style="text-align: center;"><i><b>Testimonials</b></i></div></div><div><b><i><br /></i></b></div><div><span>Un testo straordinariamente denso che descrive oltre settant'anni di </span>architettura<span> attraverso i due paradigmi dell'«età della macchina» e dell' </span>«<span>età dell'Informazione». Più che un manuale, il libro è un manifesto di una maniera di pensare l'architettura e la sua critica redatto con una scrittura appassionata che connette teorie, opere e personaggi (spesso misconosciuti) in un quadro coerente e infine persuasivo.</span><br /><i><span style="font-family: inherit;">Luca </span>Lanini</i><span> <a href="http://www.ediesseonline.it/catalogo/fondamenti/l-architettura-moderna">ivi</a></span><b><i><br /></i></b>
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<span class="Apple-style-span" style="font-family: inherit;">I felt that you´ve put all the essentials in a new perspective, which makes the profession of architectural history important again, since history is and must be re-written and re-viewed every day, which makes retrospect an aspect of the now, just like the prospect of the future is an aspect of the now.</span><br />
<span class="Apple-style-span" style="font-family: inherit;"><i>Kas Oosterhuis</i></span><br /><br />
<span class="Apple-style-span" style="font-family: inherit;">Il libro cerca un dialogo con il lettore giovane con lo scopo di creare uno sguardo vivo sul presente, tale da far capire le ragioni e offrirgli una possibile strada non solo interpretativa, ma più intimamente progettuale. </span>Di fatto è un libro politico. Se in questa accezione intendiamo la costruzione di uno spazio attivo tale da generare una società che ragiona in termini di merito e di impegno sociale.<br />
<span class="Apple-style-span" style="font-family: inherit;"><i>Antonello Marotta</i></span></div><div><span class="Apple-style-span" style="font-family: inherit;"><i><br /></i></span></div><div><span class="Apple-style-span"><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; min-height: 12px; text-align: center;"><span class="Apple-style-span">Antonino Saggio</span></div><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; text-align: center;"><span style="letter-spacing: 0px;"><i><br /></i></span></div><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; text-align: center;"><span style="letter-spacing: 0px;"><i>Architettura e modernità</i></span></div><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; text-align: center;"><span style="letter-spacing: 0px;"><i>Dal Bauhaus alla rivoluzione informatica</i></span></div><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; text-align: center;"><span style="letter-spacing: 0px;"><br /></span></div><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; text-align: center;"><span style="letter-spacing: 0px;">Frecce</span></div><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; text-align: center;"><span style="letter-spacing: 0px;">Carocci editore</span></div><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; text-align: center;"><span style="letter-spacing: 0px;">Roma 2010</span></div><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; min-height: 12px; text-align: center;"><span style="letter-spacing: 0px;"></span></div><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; text-align: center;"><span style="letter-spacing: 0px;">€ 43,70</span></div><div style="font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; text-align: right;"><div style="font-family: Helvetica; font-size: 10px; text-align: center;"><span style="letter-spacing: 0px;">pp. 468 fig 442 b&n <span class="Apple-style-span">ISBN 978884305164</span><span class="Apple-style-span">9</span></span></div><div style="text-align: center;"><span style="font-family: Helvetica; font-size: 10px;"><br /></span></div></div><div style="font-family: Helvetica; font-size: 10px; font-stretch: normal; font: 10.0px Helvetica; line-height: normal; margin: 0px; text-align: center;"><br /></div><div style="font-family: Helvetica; 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Sotir Dhamo con </span>Ermal Hoxha, Dorina Papa, Ardit Lila, Ledian Bregasi consulente Antonino di Raimo, Polis University di Tirana rettore prof. Besnik Aliaj</div>
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Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-2148052280399554392010-09-19T20:06:00.002+02:002011-11-16T17:34:21.478+01:00VIII. 27 e Copertina. Eric Owen Moss, Culver City, Los Angeles 1990 e seguenti<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><br />
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Foto e commenti a cura di Alessia Vitali "La città dei cactus volanti" <a href="http://architetturateorieeprogetto.blogspot.com/2011/09/blog-post.html">></a></div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-40630086237011901992010-02-20T18:09:00.000+01:002010-04-28T17:54:14.781+02:00VIII. 31. Thom Mayne, Morphois, Uffici Caltrans, Los Angeles (Installazione di Keith Sonnier) 2001 2004<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdQvWPZQhkpI-PQa2giYw-HhzmIVlayigdNAh3NG23o9AyO2PQVfkI7VEOKnFLqE1UOkUtyXNb4ndzdzgxF0NMGerTdmUOL8FIPwQZe0OMdjfW6U3bTWpBVqB8c-PGpHM5tDufWz149GQ/s1600/07_c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdQvWPZQhkpI-PQa2giYw-HhzmIVlayigdNAh3NG23o9AyO2PQVfkI7VEOKnFLqE1UOkUtyXNb4ndzdzgxF0NMGerTdmUOL8FIPwQZe0OMdjfW6U3bTWpBVqB8c-PGpHM5tDufWz149GQ/s320/07_c.jpg" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
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</div><i>... Si è circondati da schermi. Sia quelli televisivi, che diventano sottilissimi, sia da quelli dei PC, telefonini, navigatori, lettori di musica, videocamere, fotocamere eccetera. Questa onnipresenza dello schermo determina nell’abitante della città una condizione di avvolgimento, se non di bombardamento, da schermo e una condizione appunto strutturalmente digitale...</i><br />
<br />
Dal Cap. 31 Espressioni digitali p. 409Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-32354158391490406462010-02-01T13:29:00.000+01:002010-06-02T11:02:05.387+02:00VIII. 31. Foreign Office Architects, International port terminal, Yokohama 1995-2002<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_5ds9vvyXr2Jj1Uxzvuy5k-1vSDunk5ZvO0u8P1CeGCuGj7CxNCjMR77d6H3mzTRg-p2LvxoAxYxeaPI8oZDvNSyeH8BdVk9T_Ls5vhSGq2orXWS1lIwYCu6a3Je6vcaoSv3ICxrIeNw/s1600/200520091356.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_5ds9vvyXr2Jj1Uxzvuy5k-1vSDunk5ZvO0u8P1CeGCuGj7CxNCjMR77d6H3mzTRg-p2LvxoAxYxeaPI8oZDvNSyeH8BdVk9T_Ls5vhSGq2orXWS1lIwYCu6a3Je6vcaoSv3ICxrIeNw/s320/200520091356.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9XJF3CfMwucoMu6D953X7_hZdA75QTKrc2ZeVrv9km9vcI6arLbZUBN-Bcynlk-BXq2EUFmJAmH9iK-PunryjHJlZB0s8NP3fp51g9uUnGsKWpPKDgVQ-UddRUfrDvCzMcL-VuSOeUW0/s1600/200520091334.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9XJF3CfMwucoMu6D953X7_hZdA75QTKrc2ZeVrv9km9vcI6arLbZUBN-Bcynlk-BXq2EUFmJAmH9iK-PunryjHJlZB0s8NP3fp51g9uUnGsKWpPKDgVQ-UddRUfrDvCzMcL-VuSOeUW0/s320/200520091334.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8hQZuZVesj8nX4vFa9T-WDoNShr2igqh9Pn-w4hzZxrWngaXYX240ROdD0BM-BeHQxVDeZkN_E8-Xj0RJxRU2WGemt6gYxvhxP0f2C-R1xQrEMvzjmqPwLvijwXNfDyZHXDeMq-QsP68/s1600/200520091357.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8hQZuZVesj8nX4vFa9T-WDoNShr2igqh9Pn-w4hzZxrWngaXYX240ROdD0BM-BeHQxVDeZkN_E8-Xj0RJxRU2WGemt6gYxvhxP0f2C-R1xQrEMvzjmqPwLvijwXNfDyZHXDeMq-QsP68/s320/200520091357.jpg" /></a></div><a href="http://www.youtube.com/watch?v=AdpQ6azxPP0">Video</a> montaggio L. Sforza 2010<br />
<br />
..<i>.Lo strumento di controllo del progetto è interamente digitale e i due giovani architetti</i><br />
<i>(Farshid Moussavi e Alejandro Zaera-Polo) riescono a portare a</i><br />
<i>termine l’opera sperimentando pezzo per pezzo il nuovo know how</i><br />
<i>informatico, progettuale e tecnologico. L’interesse del progetto non è</i><br />
<i>tanto nella specificità dell’idea architettonica – un’idea come dicevamo</i><br />
<i>ampiamente dibattuta – quanto nella grande scala della realizzazione,</i><br />
<i>nella messa a punto di appropriati strumenti informatici di</i><br />
<i>controllo sia della progettazione sia del cantiere e nell’affermazione di</i><br />
<i>architetti di nuova generazione sullo scenario internazionale ... p. 405</i>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-90006533816168169412010-02-01T13:03:00.001+01:002010-02-28T11:37:12.779+01:00VIII. 33. Diller + Scofidio, Blur, Neuchatel 1998-2002<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfblLwOuljX6TW_IFseCcR5cxS9ecKfZmLFXjei-xUlQNuFTvgJNMuSQ9rwcy5wcyiGwJKyZWfq7CajWpEOt2oYMcyXRAVevoIz3xiJxhRVgKZFDk2BhEV83buNkkOH4YLsT0Iwfa3aC0/s1600-h/1bella+copia.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5348956426279565170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfblLwOuljX6TW_IFseCcR5cxS9ecKfZmLFXjei-xUlQNuFTvgJNMuSQ9rwcy5wcyiGwJKyZWfq7CajWpEOt2oYMcyXRAVevoIz3xiJxhRVgKZFDk2BhEV83buNkkOH4YLsT0Iwfa3aC0/s320/1bella+copia.jpg" style="cursor: hand; cursor: pointer; height: 214px; width: 320px;" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDGaadazemZ9_m7wciYil4Pgx0IxTS-akJcCSo6cCpJOmHnMA9PxnKfbYUXGm9O-oMGhRhpafIq82R-LqLdMoW2UDRA5bQBgq4412iaB7cPpVqwneMpOK_6Cs_DppD5P4l33Tg_Upa88I/s1600-h/1nuvola.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5348956417502134242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDGaadazemZ9_m7wciYil4Pgx0IxTS-akJcCSo6cCpJOmHnMA9PxnKfbYUXGm9O-oMGhRhpafIq82R-LqLdMoW2UDRA5bQBgq4412iaB7cPpVqwneMpOK_6Cs_DppD5P4l33Tg_Upa88I/s320/1nuvola.jpg" style="cursor: hand; cursor: pointer; height: 206px; width: 320px;" /></a><br />
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<i>..La nuvola entra in costante mutazione con l’edificio, lo cambia costantemente facendo emergere ora una prua, ora una terrazza, ora un ponte, ora nulla. Senza la lettura e la trasformazione delle informazioni ambientali, ci sarebbe solo la pura ossatura metallica</i><br />
<br />
Dal Capitolo 33. Fluidità e nuove connessioni </div><div><a href="http://www.youtube.com/watch?v=dmoRbNjhebU&feature=channel_page&fmt=18">Video</a> you tube*</div></div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-41792704266474822532009-05-28T01:23:00.000+02:002010-06-22T19:57:03.658+02:00VII. 27. Daniel Libeskind, Victoria&Albert Museum, Londra 1996<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtxwlsQA6I0CLUafJowtRG2Y-xJhc43LR9-G5Mk-s2jcXv1V688CvS8_cKGKsM68NLDquNLHRC0xLTjR12hWZuOAuBiXh9ScHtu-a6ccbLOtDl299n3axgea1y3Q_VZmLnuD4_Ukj2PM0/s1600/160520091169.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtxwlsQA6I0CLUafJowtRG2Y-xJhc43LR9-G5Mk-s2jcXv1V688CvS8_cKGKsM68NLDquNLHRC0xLTjR12hWZuOAuBiXh9ScHtu-a6ccbLOtDl299n3axgea1y3Q_VZmLnuD4_Ukj2PM0/s320/160520091169.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXNysROK-5ZZz23iuLPxuIaMCLAQkaA-3CTc-r9oG_2IBF2JOARyFi8Ldiu_akULylpevIMesCwEGi0lWPkd3-7cNZS_imyjgpI0RSXAtFY-WzZM7y-TQl2XTQwwySIhKgee6pXkXKqW0/s1600/160520091170.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXNysROK-5ZZz23iuLPxuIaMCLAQkaA-3CTc-r9oG_2IBF2JOARyFi8Ldiu_akULylpevIMesCwEGi0lWPkd3-7cNZS_imyjgpI0RSXAtFY-WzZM7y-TQl2XTQwwySIhKgee6pXkXKqW0/s320/160520091170.jpg" width="212" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtxwlsQA6I0CLUafJowtRG2Y-xJhc43LR9-G5Mk-s2jcXv1V688CvS8_cKGKsM68NLDquNLHRC0xLTjR12hWZuOAuBiXh9ScHtu-a6ccbLOtDl299n3axgea1y3Q_VZmLnuD4_Ukj2PM0/s1600/160520091169.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div><a href="http://www.youtube.com/watch?v=ZNUVRelg5n0">Buon Video</a><br />
<br />
<i>...Alla metà degli anni novanta un’altra grande prova. La spirale che si avvinghia nello spazio assunta al moto della crescita del sapere e della vita nell’ampliamento del Victoria&Albert Museum a Londra, il tempio delle arti applicate.. (p. 349)</i>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-5944260567311042752009-05-21T18:37:00.003+02:002010-04-08T09:34:53.519+02:00VII. 29. Peter Eisenman, Chiesa del 2000, Roma 1996<div><br />
</div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-_htejEryfa4iAXYC8nlLZPxoJXSi3IZdzRS-NACGKhrAMVc0MT7So-RNfaVDNyX0j8xXK7Ek88XQgaS3dO1JHrcXKhW64K_xtjju95evS9cAyMqAevDvXznfKjJc1UESSUr8D1opH4/s1600-h/190520091247.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5338318580107569186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-_htejEryfa4iAXYC8nlLZPxoJXSi3IZdzRS-NACGKhrAMVc0MT7So-RNfaVDNyX0j8xXK7Ek88XQgaS3dO1JHrcXKhW64K_xtjju95evS9cAyMqAevDvXznfKjJc1UESSUr8D1opH4/s320/190520091247.jpg" style="cursor: hand; cursor: pointer; height: 206px; width: 320px;" /></a><br />
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<i>... uno straordinario progetto, un canyon abitato dove si svolgono funzioni religiose anche teletrasmesse a distanza. Elaborato e portato avanti anche successivamente al Concorso (perso per il rassicurante progetto di Richard Meier realizzato a Tor Tre teste) con un plastico e molti nuovi disegni curati appassionatamente dagli architetti Cristian Pongratz e Maria Rita Perbellini in quella fase collaboratori dello Studio Eisenman a New York ...</i><br />
<div><i><br />
</i>Dal Capitolo 2 Processi di progettazione in Peter Eisenman</div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-34272156286654763422007-02-27T13:01:00.001+01:002010-02-27T13:04:49.018+01:00VII. 20. Claude Parent, Sainte Bernadette a Nevers del 1966<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd3HbtIsBi_5HhMrMfqRBmu9BgX4vLLAU8GcBuomSx0MhQEdx_VNnLsslqbpVl6hQt09sUfYm_rcBk6Y7zBCC1KuUD6AAvbhU_x-BRGOOwWz2ThtncwEq-nfWbDseysaI5jUtI9Ctbkq0/s1600-h/29042009933.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd3HbtIsBi_5HhMrMfqRBmu9BgX4vLLAU8GcBuomSx0MhQEdx_VNnLsslqbpVl6hQt09sUfYm_rcBk6Y7zBCC1KuUD6AAvbhU_x-BRGOOwWz2ThtncwEq-nfWbDseysaI5jUtI9Ctbkq0/s320/29042009933.jpg" /></a></div><i>Particolarmente interessante era stata la loro chiesa di Sainte Bernadette a Nevers del 1966 in cui trasferivano quasi direttamente un loro originale studio sui bunker tedeschi lungo le coste atlantiche. ...</i>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-78744404793060622432005-05-14T20:15:00.005+02:002011-03-31T19:51:24.083+02:00V. 13. Ludwig Mies Van Der Rohe, Stadt Gallery Berlino 1962-1963<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN31xujugdiAw7YQtOCTtFVIW3bpS-63TttSTQtoBfs-qwQy22CFKtXI_aEJAG7v00_9vQu4iOvk31WSP2NXJb3axPQ9B9nsgwkzqrXo03f1G1yymk16ZhHyyGeGCYNi8QFfSpDQcqurc/s1600-h/25042009873.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5422931807716560882" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN31xujugdiAw7YQtOCTtFVIW3bpS-63TttSTQtoBfs-qwQy22CFKtXI_aEJAG7v00_9vQu4iOvk31WSP2NXJb3axPQ9B9nsgwkzqrXo03f1G1yymk16ZhHyyGeGCYNi8QFfSpDQcqurc/s320/25042009873.jpg" style="cursor: hand; cursor: pointer; height: 280px; width: 394px;" /></a><br />
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<span style="font-size: 78%;">seier+seier+seier's photostream </span></div><div><span class="Apple-style-span" style="font-size: x-small;"><br />
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<i> ...Su questa strada Mies non può che inseguire archetipi antichi, come quello del tempio basamentale della sua StatGalerie, che realizza in una Berlino che ora interpreta attraverso il neoclassicismo di Schinkel ...</i><br />
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Capitolo 13. Funzioni diverse: Wright, Aalto, Gropius e MiesAntonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-11331904096986302332005-05-14T20:12:00.000+02:002016-12-17T16:27:47.734+01:00V. 13. Ludwig Mies Van Der Rohe, Seagram Building, New York 1956 ca<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-style: italic;">..un modello di perfezione che da allora avrà innumerevoli repliche mai all’altezza della dell’originale..</span><br />
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dal Paragrafo 13. Il paradigma vincente</div>
Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-41285498056095701312005-02-27T13:21:00.002+01:002010-03-12T17:29:56.659+01:00V. 15. Le Corbusier, Cappella Notre-Dame du Haut, Ronchamp 1950-1955<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-QzV6386_Wcj-_9eVCHcPOV-Q_NzqOnTqpKPP3Fo0bXGflhLJwdDNXZbTt7a0h-_JiMHYO0BOqHk04O7dx1yiDpFJ_7MF_CZAcAwBTbJWMLzO66QgCiYo9azXBfHAsPJV-Egpz33hCV0/s1600-h/DSCF0990.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-QzV6386_Wcj-_9eVCHcPOV-Q_NzqOnTqpKPP3Fo0bXGflhLJwdDNXZbTt7a0h-_JiMHYO0BOqHk04O7dx1yiDpFJ_7MF_CZAcAwBTbJWMLzO66QgCiYo9azXBfHAsPJV-Egpz33hCV0/s400/DSCF0990.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"></div><div style="font: 12.0px Palatino; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; text-indent: 21.2px;"><span style="letter-spacing: -0.5px;"><i><span class="Apple-style-span" style="font-size: medium;">... in cima ad una collina sorge un muro sagomato da una parte in maniera rettilinea e dall’altra curvilinea. Delimita una cappella in cui la luce penetra da profonde e asimmetriche incisioni che fanno tesoro delle ricerche che accompagnano la pittura dell’espressionismo informale di Hartung, Vedova, Fautrier...</span></i></span></div><div style="font: 12.0px Palatino; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; text-indent: 21.2px;"><i><span class="Apple-style-span" style="font-size: medium;"><br />
</span> </i></div><div style="font: 12.0px Palatino; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; text-indent: 21.2px;"><span class="Apple-style-span" style="font-size: medium;">dal Cap. 15. La Liberazione della forma</span></div><div style="font: 12.0px Palatino; margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; text-indent: 21.2px;"><span class="Apple-style-span" style="font-size: medium;"><br />
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<span class="Apple-style-span" style="font-family: 'Lucida Grande';"><span class="Apple-style-span"><a href="http://www.youtube.com/watch?v=tyGdcTR92t8">Buon Video</a></span></span><br />
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</span></span></div></div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-18689119227120734212004-02-27T13:12:00.003+01:002010-03-12T17:29:15.471+01:00IV. 12. Le Corbusier, Unité di abitazione, Marsiglia 1945-1952<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="font-size: 10px; white-space: pre;"><br />
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</div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 10px; white-space: pre;"><a href="http://www.youtube.com/watch?v=KZMw-yM14RQ">Buon Video</a></span><br />
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</span></span></span></span>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-46215130784993908072003-05-14T20:09:00.003+02:002010-04-08T09:30:48.473+02:00III. 6. Ludwig Mies Van Der Rohe, IIT campus, Chicago, 1938 e seguenti<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1NRNwDuMSs7dJ4KJ1CR0qMuvNv2sMetbcixAhsTUn1do1Sb-2SKM5lTOPxzXz7slJ_zXFEJcedlS0WOhj6_04WmzxAjulzob3L5pZHuwSAv932TG4wp56V3Stj9z0fPmo3lYCO_ws64A/s1600-h/DSCF1035.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5422930607203381410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1NRNwDuMSs7dJ4KJ1CR0qMuvNv2sMetbcixAhsTUn1do1Sb-2SKM5lTOPxzXz7slJ_zXFEJcedlS0WOhj6_04WmzxAjulzob3L5pZHuwSAv932TG4wp56V3Stj9z0fPmo3lYCO_ws64A/s320/DSCF1035.JPG" style="height: 120px; width: 455px;" /></a><br />
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Crown Hall</div></div><br />
<span style="font-style: italic;">..lascia la Germania per diventare il direttore dell’Illinois Institute of Technology di Chicago con l’incarico di progettare il piano d’insieme del nuovo campus e diversi dei suoi edifici. Con questo progetto statunitense si consuma un arretramento sensibile e drammatico della sua ricerca. Proprio chi aveva compreso come realizzare in un insieme interagente e continuo lo spazio interno e quello esterno abbandona...</span><br />
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</div><div>Capitolo 6. Mies Van der Rohe. Dello spazio totale </div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-82058616550513156782003-05-13T18:29:00.000+02:002010-02-27T12:12:09.376+01:00III. 11. Frank Llyod Wright, Johnson Wax Headquarters, Racine 1936-1939<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD5ANkDN8cuznVBQcTX0Vbr9FXDKed1lVj72ypU_-KJQTXOg-7_1N2q6WtbMsyztpi-bQFNaYwrIhn3M5PE9ssQg1hIzy4o-zkZNUGiZRCCa7nvatpa1R4O0nEd6l4YAdnkT0d8XsUPBE/s1600-h/wrightbutta.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5422907493697322738" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD5ANkDN8cuznVBQcTX0Vbr9FXDKed1lVj72ypU_-KJQTXOg-7_1N2q6WtbMsyztpi-bQFNaYwrIhn3M5PE9ssQg1hIzy4o-zkZNUGiZRCCa7nvatpa1R4O0nEd6l4YAdnkT0d8XsUPBE/s320/wrightbutta.jpg" style="cursor: hand; cursor: pointer; height: 205px; width: 320px;" /></a><br />
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</i></span></span></div><div style="font: normal normal normal 12px/normal Palatino; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left; text-indent: 0px;"><span class="Apple-style-span" style="font-family: Georgia, serif; font-size: 16px;"><i>... nell’immaginario di Wright un edificio per uffici è anche diventato una comunità vivente, pulsante, in evoluzione dinamica verso l’intorno.</i></span></div><div style="font: normal normal normal 12px/normal Palatino; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left; text-indent: 0px;"><span class="Apple-style-span" style="font-family: Georgia, serif; font-size: 16px;"><i><br />
<span class="Apple-style-span" style="font-style: normal;">(dal paragrafo 11.8 "Keep Piling")</span><br />
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</span></span></div></div></div></div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-27490027837785260392003-04-08T09:47:00.000+02:002010-04-13T22:20:17.010+02:00III. 11. Frank Lloyd Wright, Casa sulla cascata, Bear Run 1935<div class="separator" style="clear: both; text-align: center;"><br />
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<i>... Ma insieme a questi temi la casa non è più in alcun modo associabile a icone figurative, o a contrasti armonici di forme e materiali perché esprime tensioni che senza i temi sondati da tutta la nuova arte sa rebbero incomprensibili... p. 145</i><br />
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<i><a href="http://www.snotr.com/video/357">Video Buono</a> (suggerito da Maria Pia Cosentino ITCaad 010)</i><br />
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11. Mr. Wright la Sovranità dell'individuoAntonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-62702353140687409762003-03-20T13:48:00.004+01:002010-03-12T17:32:13.333+01:00III. 9. Alvar Aalto, Sanatorio, Paimio 1928-1934<div><div style="text-align: left;"><div style="text-align: left;">Sanatorio</div><div style="text-align: left;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOLkeuY_0lK9nzCY0ySbWzLTaaX8YxodNEhQ8pYI5r68IHfxHOrepLiwGLZKattCaDyExyjrMipPu7X7DwtP62CqxdQ8O2tRzNQIEUeDfM-YqKwUrlSCV6-YN5u-0ZnrkIPg1uEEwHrw/s1600-h/2936136842_cd7227f910.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5315252291901729298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOLkeuY_0lK9nzCY0ySbWzLTaaX8YxodNEhQ8pYI5r68IHfxHOrepLiwGLZKattCaDyExyjrMipPu7X7DwtP62CqxdQ8O2tRzNQIEUeDfM-YqKwUrlSCV6-YN5u-0ZnrkIPg1uEEwHrw/s400/2936136842_cd7227f910.jpg" style="display: block; height: 400px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: left; width: 266px;" /></a></div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-90697906280748208462003-01-19T16:56:00.001+01:002010-03-12T17:33:13.625+01:00III. 11. Dudley Zoo in West Midlands.Tecton Group Berthold Lubetkin, Francis Skinner, Denys Lasdun, Godfrey Sa<a href="http://www.youtube.com/watch?v=UAJ0sW36I80">Buon Video sullo zoo Dudley </a><br />
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</div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-46486599920475168302003-01-04T16:36:00.002+01:002010-04-08T09:34:28.411+02:00III. 10. Giuseppe Terragni, Asilo Sant'Elia, Como 1936-1937<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjng9Yqy9GgMh257wNyvtRJSocvAVzIRZmiy4TvPDGE3Qw_tvdfkCoS-8FPWZbnXCDhnb6462bC7RHrAddJS4sPgc9rOBIiZFrYQ0E7UPsPpdw8gzz7FKaS7rDynxrncE357QIHNh3ZPt4/s1600-h/20032009760.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5422910157474918690" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjng9Yqy9GgMh257wNyvtRJSocvAVzIRZmiy4TvPDGE3Qw_tvdfkCoS-8FPWZbnXCDhnb6462bC7RHrAddJS4sPgc9rOBIiZFrYQ0E7UPsPpdw8gzz7FKaS7rDynxrncE357QIHNh3ZPt4/s320/20032009760.jpg" style="cursor: pointer; height: 420px; width: 320px;" /></a><br />
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</span></span></span></span></div></div><i>L’archetipo originale, il blocco compatto, e con esso la rigida divisione in tre fasce, vengono così pervase da una profonda riconsiderazione per le esigenze di una natura assunta a parametro oggettivo (di luce, di aria, di protezione), ma anche di ispirazione.</i><br />
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</i>Dal paragrafo 10.9 L’asilo Sant’Elia. Oltre il funzionalismo</div><div><a href="http://www.youtube.com/watch?v=U2SRZtdFlgk">video youtube</a> (individuarne uno migliore)</div></div></div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-35982746573027472272002-05-14T20:26:00.000+02:002010-02-27T12:53:51.180+01:00II. 6. Ludwig Mies Van Der Rohe, Uffici nella Friedrichstrasse, Berlino 1919<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1FCBhKy1BRKEfG8gyy1rZ2zvc2Mhdz1LZCiRdIjPu10cqm4kPu-x4fuGbkRZx7NgQamDv2VzIu_0DtlKDkbBgap3EM33AjEw7R2Om2nV6-SPYQO6uAHVD3nA1uWdlVJiOfEer67esai0/s1600-h/DSCF1104.JPG"><img style="cursor:pointer; cursor:hand;width: 231px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1FCBhKy1BRKEfG8gyy1rZ2zvc2Mhdz1LZCiRdIjPu10cqm4kPu-x4fuGbkRZx7NgQamDv2VzIu_0DtlKDkbBgap3EM33AjEw7R2Om2nV6-SPYQO6uAHVD3nA1uWdlVJiOfEer67esai0/s320/DSCF1104.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5422935870857687314" /></a><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1FCBhKy1BRKEfG8gyy1rZ2zvc2Mhdz1LZCiRdIjPu10cqm4kPu-x4fuGbkRZx7NgQamDv2VzIu_0DtlKDkbBgap3EM33AjEw7R2Om2nV6-SPYQO6uAHVD3nA1uWdlVJiOfEer67esai0/s1600-h/DSCF1104.JPG"></a><br />
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Nell’andamento appuntito del perimetro il disegno ricorda quelli delle antiche fortificazioni rinascimentali: lo scopo è infatti la massimizzazione delle superfici esterne per aumentare le pareti illuminanti e per moltiplicare le viste.<br />
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Dal Capitolo 6. Mies Van der Rohe. Dello spazio totaleAntonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-9412058493278717162002-04-22T10:35:00.000+02:002011-05-17T21:51:31.572+02:00II. 7. Ludwig Mies vand Der Rohe et al, Siedlung Weisenhof, Stoccarda 1927<div dir="ltr" style="text-align: left;" trbidi="on"><i><br />
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</div><div class="separator" style="clear: both; text-align: center;">Top Mies, Block center view of the Siedlung, Bottom, Le Corbusier. All pictures quote: by Antonino Saggio, <i>Architettura e Modernità</i>, Carocci 2010</div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><i>Mies comincia a studiare il piano del quartiere attraverso un plastico che esprime in una dimensione urbanistica la sua concezione spaziale: un insieme di piastre di uno o due piani completamente astratte (riuscirà anche nella realizzazione ad uniformare le coperturein lastre piane e il colore nel bianco) che non seguono allineamenti preordinati, ma segmentano lo spazio lasciando fluire un invaso sull’altro ... p. 83</i></div><div class="separator" style="clear: both; text-align: center;"><br />
</div></div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-76875245838574582062002-03-24T09:01:00.004+01:002010-04-08T09:26:37.686+02:00II. 2 Walter Gropius, Edificio del Bauhaus, Dessau 1925-1926<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwSL7NbImCboWkFYtJaVQg1x52MhrecWkliwKa3tJwH3fERRS1qxkAw__7PxIdUQTPWpMXtbB7XHTEwAXhy5EovOdi5BmcCG4oPiRw9YinZLA48MUr6q5tBk2loDOtELOMJplDAokI4g/s1600-h/DSCF1105.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="400" id="BLOGGER_PHOTO_ID_5335031749548096034" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwSL7NbImCboWkFYtJaVQg1x52MhrecWkliwKa3tJwH3fERRS1qxkAw__7PxIdUQTPWpMXtbB7XHTEwAXhy5EovOdi5BmcCG4oPiRw9YinZLA48MUr6q5tBk2loDOtELOMJplDAokI4g/s400/DSCF1105.JPG" style="height: 320px; width: 211px;" width="263" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijQUWDLCuOBgnfqvqD-HoU831Ry5NqBSp7XcOjT83fjeeT0Xh452OpSyApIynN_LbzxYGoa0Vk2j8f_mI6vI8r1W1JLtjAgFAMOQdqXkQV59qt7-VAatfJpoFWsIn7NKCmCgf8xpbxsw/s1600-h/23e.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335031384910904178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijQUWDLCuOBgnfqvqD-HoU831Ry5NqBSp7XcOjT83fjeeT0Xh452OpSyApIynN_LbzxYGoa0Vk2j8f_mI6vI8r1W1JLtjAgFAMOQdqXkQV59qt7-VAatfJpoFWsIn7NKCmCgf8xpbxsw/s320/23e.jpg" style="cursor: hand; cursor: pointer; height: 218px; width: 320px;" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5IuEVqw37JHUoVdAkwe5A3S4B4HYgmZxr9bMUATus517EBW4FYZ-jk2P38HM-QqZugu6DfjJUjAXS2zTbiyH8Gn2RvvINx_beA0mPr7qqw5c33LCPe6OWaH6jAdJNi0qYzaoK_hEVZw/s1600-h/23.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335030971014648642" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5IuEVqw37JHUoVdAkwe5A3S4B4HYgmZxr9bMUATus517EBW4FYZ-jk2P38HM-QqZugu6DfjJUjAXS2zTbiyH8Gn2RvvINx_beA0mPr7qqw5c33LCPe6OWaH6jAdJNi0qYzaoK_hEVZw/s320/23.jpg" style="cursor: hand; cursor: pointer; height: 320px; width: 215px;" /></a> </div><div><br />
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<a href="http://vodpod.com/watch/504209-bauhaus">Video eccezionale</a><br />
Suggerito da Mehmet Sinan Bermek (ITCaad 09)</div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-4569173731358297842002-01-21T17:24:00.000+01:002010-02-27T12:46:48.089+01:00II. 4 Cornelis van Eesteren and Theo van Doesburg<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e4/Cornelis_van_Eesteren_and_Theo_van_Doesburg_2.jpg/435px-Cornelis_van_Eesteren_and_Theo_van_Doesburg_2.jpg"><img style="cursor:pointer; cursor:hand;width: 435px; height: 599px;" src="http://upload.wikimedia.org/wikipedia/commons/thumb/e/e4/Cornelis_van_Eesteren_and_Theo_van_Doesburg_2.jpg/435px-Cornelis_van_Eesteren_and_Theo_van_Doesburg_2.jpg" border="0" alt="" /></a><br />
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Anonymous. Théo van Doesburg (right) and C. van Eesteren (left) working on their architectural models in their studio in Paris. 1923. Photo. Rotterdam, Netherlands Architecture Institute.Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com1tag:blogger.com,1999:blog-4343097642395777489.post-63118048532663515162002-01-04T18:10:00.000+01:002010-02-27T12:47:11.724+01:00II. 6. Ludwig Mies Van der Rohe, Grattacielo di vetro, Berlino 1921<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1_-KJSseAM2FgG9nEyUNRPSdkMKMvWy18mCKyPy4lu77oeVYpOsrjkQ8vEkSdzP22R6TnfceLwhP4Rb2nhiOfjPkAloqwpFX4cTEi3bsGntHzLse96JYiT9dfS5ZP5lTlm2BtUBUF3cE/s1600-h/18.jpg"><img style="cursor:pointer; cursor:hand;width: 211px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1_-KJSseAM2FgG9nEyUNRPSdkMKMvWy18mCKyPy4lu77oeVYpOsrjkQ8vEkSdzP22R6TnfceLwhP4Rb2nhiOfjPkAloqwpFX4cTEi3bsGntHzLse96JYiT9dfS5ZP5lTlm2BtUBUF3cE/s320/18.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5422933662978268786" /></a><br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizBKdgwosNHqyRKFNdf-_UnYlQomJX6-HvZ-zo3bEz40NWowHM0859MvCINzRwE3GvzVALNzMo4nV6Fd9pfSRV1aBxKNYiRKpF4cwRfe86q4D5CZf9CABYZnWcR6-i8cj6-dCsjNf2wgk/s1600-h/20022009603.jpg"><img style="cursor:pointer; cursor:hand;width: 320px; height: 261px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizBKdgwosNHqyRKFNdf-_UnYlQomJX6-HvZ-zo3bEz40NWowHM0859MvCINzRwE3GvzVALNzMo4nV6Fd9pfSRV1aBxKNYiRKpF4cwRfe86q4D5CZf9CABYZnWcR6-i8cj6-dCsjNf2wgk/s320/20022009603.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5422933660627608386" /></a><div><br />
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<span style="font-style:italic;">Visto in pianta, lo schema si definirebbe un’ameba ancorata a due cerniere legate da una cinghia di distribuzione (i nuclei di servizio in questo caso sono due e hanno forma circolare). Di questo edificio, Mies realizzò un grande e bellissimo modello: per presentare la strabiliante idea, che verrà parzialmente realizzata da altri mezzo secolo dopo e per verificare trasparenze, rifrangenze, riflessioni e l’illuminazione ...</span><br />
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Dal Capitolo 6. Mies Van der Rohe. Dello spazio totale</div></div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-75273686682264293212002-01-04T17:35:00.003+01:002011-09-19T21:39:04.975+02:00II. 6. Ludwig Mies vand Der Rohe, Villa Tugendhat, Brno 1928-1929<div dir="ltr" style="text-align: left;" trbidi="on"><a href="http://www.dailyicon.net/magazine/wp-content/uploads/2008/07/tugendhat05dailyicon.jpg"><img alt="" border="0" src="http://www.dailyicon.net/magazine/wp-content/uploads/2008/07/tugendhat05dailyicon.jpg" style="cursor: hand; cursor: pointer; height: 355px; width: 500px;" /></a><br />
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Capitolo 6. Mies Van der Rohe. Dello spazio totale</div></div>Antonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0tag:blogger.com,1999:blog-4343097642395777489.post-26368011203409866672002-01-04T17:11:00.000+01:002010-02-27T12:48:32.120+01:00II. 5. Erich Mendelsohn, Cinema Universum, Berlino 1926-1928<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgPRjvdplFsZ5SbCQ-MWJIoV_DTEcM9bMAaM5I239TMAnBx3-OOErrlD8p0M9MNdTeHOh80e5W1L3-PV9Cwcp5No2hlFNXHCfBz1LgBNOizTcqw2F2gLnQx0g2Qz0AO1WISGlcmQNKUSA/s1600-h/universum.jpg"><img style="cursor:pointer; cursor:hand;width: 220px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgPRjvdplFsZ5SbCQ-MWJIoV_DTEcM9bMAaM5I239TMAnBx3-OOErrlD8p0M9MNdTeHOh80e5W1L3-PV9Cwcp5No2hlFNXHCfBz1LgBNOizTcqw2F2gLnQx0g2Qz0AO1WISGlcmQNKUSA/s320/universum.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5422919934640140562" /></a><br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://homepage.mac.com/acam.bilbao/alemania1/Obras/images/Universum2.jpg"><img style="cursor:pointer; cursor:hand;width: 505px; height: 284px;" src="http://homepage.mac.com/acam.bilbao/alemania1/Obras/images/Universum2.jpg" border="0" alt="" /></a><br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.laits.utexas.edu/berlin/images/buildings/07Kurfurstendamm/c135_ErichMend.jpg"><img style="cursor:pointer; cursor:hand;width: 650px; height: 350px;" src="http://www.laits.utexas.edu/berlin/images/buildings/07Kurfurstendamm/c135_ErichMend.jpg" border="0" alt="" /></a><br />
<span style="font-style:italic;"> ... e nello stesso cinema Universum che costruirà a Berlino, il mondo di Mendelsohn ha tangenze con le ricerche costruttiviste. I volumi, in questi casi, conservano una autonomia figurativa e plastica e presentano alcuni montaggi per sovrapposizione o incastro. Sono spinte divergenti. Come legare infatti la sconnessione per piani agli assemblaggi per volumi?</span><br />
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Dal Capitolo 5.Mendelsohn. Lo spazio curvoAntonino Saggiohttp://www.blogger.com/profile/07567640266002829725noreply@blogger.com0