The article examines the reorientations of the appreciation of ugliness within different national contexts in a comparative and relational frame, juxtaposing the Australian, American, British and Italian milieus. It also explores the ways in which the transformation of the urban fabric and the effect of suburbanization were perceived in the aforementioned national contexts. Special attention is paid to the production and dissemination of how the city’s uglification was conceptualized between the 1950s and 1970s. Pivotal for the issues that this (...) article addresses are Ian Nairn’s Outrage: On the Disfigurement of Town and Countryside, Robin Boyd’s The Australian Ugliness, Donald Gazzard’s Australian Outrage: The Decay of a Visual Environment, and the way the phenomenon of urban expansion is treated in these books in comparison with other books from the four national contexts under study, such as Ludovico Quaroni’s La torre di Babele and Reyner Banham’s The New Brutalism: Ethic or Aesthetic?. Particular emphasis is placed on Boyd’s articles in The Architectural Review between 1951 and 1970. At the core of the article is the analysis of the debates around ugliness between the 1950s and 1970s within the British, Italian, American and Australian contexts. (shrink)

Italian critical theorist Giorgio Agamben is well known for his rigorous attempts to redefine political, aesthetic, and theological concepts through messianic categories. For Agamben, the messianic is not concerned with perpetual waiting for a savior to come and redeem the world. Rather, it concerns the radically open potentiality for action within the contemporary moment. While the temporality of the messianic moment has been emphasized both by Agamben and by the vast secondary literature that has provided ample reflections on his (...) body of work, the important concept of messianic space has not been given equal treatment. Space and time must be thought together if we are to appreciate the unique qualities of .. (shrink)

Aureli advances a fresh, spirited and combative account of the idea of ‘autonomy’, connecting Italian architectural debates from the 1960s with the politics of class-autonomy that was being developed and advanced by workerist theorists such as Raniero Panzieri, Mario Tronti and Toni Negri. Aureli’s account focuses on Aldo Rossi’s architectural ideas and the project of the No-Stop City proposed by the young avant-garde group Archizoom. The Project of Autonomy is not simply envisaged as an historical exploration of the 1960s; (...) primarily, it is conceived as an intervention in current architectural theory, drawing on the author’s interest in Tronti’s politics to challenge the contemporary popularity of a broadly post-Negrian ‘autonomism’. This review questions aspects of Aureli’s reading of Rossi and Manfredo Tafuri. Furthermore, although Aureli’s discussion of Red Vienna opens up onto vital questions of strategies for social change, which remain pertinent to contemporary arguments over ‘enclaves’ or ‘zones’ of resistance, his antagonism towards Tafuri prevents his argument from either exploring or advancing the debate which he has initiated. (shrink)

The Weimar-Republic, and the modernist architecture and planning that was born there, is still a contested place, from whence liberals, reactionaries and Marxists can all trace their lineage. Sabine Hake’s Topographies of Class attempts to clarify this contestation, through an interdisciplinary study of the modernist geography of the interwar-capital, Berlin. The book offers many new insights into the Weimar-era city, countering a tendency on the Left to reject the twentieth-century city in favour of the romanticised ‘capitals of the nineteenth (...) century’, with their insurgent proletariat and their lushly ornamented boulevards. Topographies of Class is a reminder that, irrespective of the era’s rejection of ornament and romanticism, it was a site of class-struggle as intense as that of the Paris of the 1870s. However, Hake’s study is dominated by a conception of class as an ‘identity’, akin to the identity-politics of race or gender, leading to an argument centred on the suppression or expression of ‘class-difference’ rather than class-struggle. In the process, her reading of the city’s modernism becomes overly one-sided, as a period of tension between labour and capital is read, under the influence of Manfredo Tafuri and Italian post-Marxist architectural theory, as being governed almost solely by the logic of Fordist capital. (shrink)

This paper examines the planning process and architecture of two public psychiatric institutions built around 1900 in Trieste and Lower Austria. From 1864, the building of new asylums was the responsibility of Crown land governments, which by the end of the nineteenth century had emerged as sites of power and self-presentation by minority groups and new political parties. At the same time, the area of asylum planning was establishing itself as a branch of asylum psychiatry and promoting the idea (...) of the asylum as model settlement, contributing to social reform. I analyse the interaction of psychiatrists, architects and government officials involved in planning the two institutions in the context of Crown land governments’ self-positioning within the empire and internationally . The Trieste asylum planners were working for a government controlled by Italian nationalists, but their desire for a ‘modern’ asylum turned them towards German models. The Christian Social government in Lower Austria sought to supplant Germany as the leader in this branch of science. The spatial arrangement and visual articulation of the two asylums is interpreted in the context of the interaction of psychiatry and the politics of regional autonomy. (shrink)

This article analyzes articulations among urban enclaves, finance capital, and glass architecture by exploring MGM’s corporate investments in the Las Vegas CityCenter development and the Chinese enclave of Macau. CityCenter is an unsuccessful $9 billion master-planned urban community financed by MGM and Dubai World. Macau is a former Portuguese colony and Special Administrative Region of the People’s Republic of China which has, since its return to the PRC in 1999, replaced Las Vegas as the world’s most lucrative site of (...) casino gaming revenue. Taken together, CityCenter and Macau are illustrative of the political economy and cultural logics of financialization. Foreign investment from Las Vegas entrepreneurs has vitrified Macau, transforming it into a phantasmagoria of glass resorts. Macau in turn plays a crucial functional role in capitalism’s recomposition in East Asia, similar to the autochthonous role of the Italian city-states of Venice and Genoa in the historical origins of capitalism. In order to ‘read’ the cities of Las Vegas and Macau, I explore intertextual legibilities among fictitious capital that relies on glass fiber-optic technology to enable grand architectural projects; expressionist fictional representations of glass architecture and its utopian transformative potential; and glass buildings that themselves dissimulate in a manner not unlike fiction. (shrink)

A study on minimalist syntax develops an empirical argument for a crash-proof computational system. A crash-proof system is obtained if syntactic dependencies are strictly local (i.e. there is no long-distance Agree). Apparent long-distance dependencies turn out to be the outcome of a recursive chain on local complex dependencies. This framework allows for novel analyses of quirky subjects in Icelandic and Spanish, indefinite SE in Spanish and different types of expletive constructions in English, French, German, Spanish, Italian, and Icelandic.

Unnatural Horizons presents a selective history of the last five centuries of landscape architecture at the intersection of poetics and science, rhetoric and technology, and philosophy and politics. It investigates the relations between garden aesthetics and metaphysics, discussing issues similar to those raised by Weiss's critically acclaimed Mirrors of Infinity. The Western garden has always served as a setting for music, dance, theater, sculpture, and architecture, as well as the minor arts of meditative contemplation and erotic seduction. The (...) history of landscape architecture is therefore inextricable from the histories of the other arts, and must be studied from an interdisciplinary and polycultural point of view. Some of the topics included in this book are the influence of neo-Platonic philosophy on the Italian Renaissance garden, erotic fantasies and the 18th-century libertine garden, the contrast between Thoreau's romantic notion of virgin nature and changes in perception due to increasing speed and mechanization, and the limits of landscape architecture as art form in 20th-century gardens. (shrink)

The article scrutinizes the impact of the 1968 student protests on architectural education and epistemology within the Italian and American context, the advocacy planning movement and the relationship of architecture and urban planning with the socio-political climate around 1968. It aims to demonstrate how the concepts of urban renewal and ‘nuova dimensione’ were progressively abandoned in the USA and Italy respectively. It presents how the critique of these concepts was related to the conviction that they were incompatible with (...) socially effective architecture and urban design approaches. The article sheds light on the complexity of the reorientations that took place in both contexts, taking into consideration the impact of student protests, and the 1968 Civil Rights Action the architects and urban planners’s task on the curricula of schools of architecture. It also investigates certain counter-events and counter-publications in the USA and Italy, shedding light on how they reinvented the relationship between architecture and democracy. It reveals the tensions between enhancing equality in planning process and local bureaucracy in the case of advocacy planning strategies. (shrink)

Rather than having been designed to function as a slave market, the Agora of the Italians appears to hâve functioned as a multifaceted recreational facility for the members of the Roman collegia of the island. That is, it functioned as a combined palaestra, bath, banquet hall, and gladiatorial arena, such as thèse probably existed at the turn of the second-first centuries B.C. Architecture lly, the building enjoys distinct similarities with the ludii gladiato- rii at Pompeii and at Rome.

This paper examines the efforts in evolution research to understand form’s structure that developed in Italy during the first half of the twentieth century. In particular, it analyzes how the organic approach in biology and the study of organic form merged in the morphological research agendas of Giuseppe Colosi and Giuseppe Levi. These biologists sought to understand form’s inner composition and structure. First, I will briefly outline the morphological practices and frameworks used to study form changes and structures in the (...) early twentieth century. Second, I will discuss what the Italian biologist Antonio Pensa called the morphological problem. Third, I will examine Colosi’s response to the morphological problem. Fourth, I will analyze Levi’s morphological research program. As a result, this paper paves the way for a more nuanced and varied picture of the so-called “organicism movement” in the first half of the twentieth century by calling attention to morphology as practiced in Italian-speaking biology. In fact, alongside dialectical materialism and holistic biology, two of the main strands within organicism, the architectural approach to evolution as practiced in Italy and elsewhere had a profound impact on twentieth- and twenty-first-century organicism specifically and on evolutionary biology generally. (shrink)

This article addresses an open problem in the area of cognitive systems and architectures: namely the problem of handling (in terms of processing and reasoning capabilities) complex knowledge structures that can be at least plausibly comparable, both in terms of size and of typology of the encoded information, to the knowledge that humans process daily for executing everyday activities. Handling a huge amount of knowledge, and selectively retrieve it according to the needs emerging in different situational scenarios, is an important (...) aspect of human intelligence. For this task, in fact, humans adopt a wide range of heuristics (Gigerenzer & Todd) due to their “bounded rationality” (Simon, 1957). In this perspective, one of the requirements that should be considered for the design, the realization and the evaluation of intelligent cognitively-inspired systems should be rep- resented by their ability of heuristically identify and retrieve, from the general knowledge stored in their artificial Long Term Memory (LTM), that one which is synthetically and contextually relevant. This requirement, however, is often neglected. Currently, artificial cognitive systems and architectures are not able, de facto, to deal with complex knowledge structures that can be even slightly comparable to the knowledge heuris- tically managed by humans. In this paper I will argue that this is not only a technological problem but also an epistemological one and I will briefly sketch a proposal for a possible solution. (shrink)

For some thirty years, a handful of architects has been trying to call into question the primacy that the history of architecture has given to monumental buildings. The representatives of this trend want to get away from the short chronology, common since the Italian Renaissance, and react against the dominant international functionalism that has too little respect for the local cultural contexts. It is under the influence of this “vernacular” approach that the small traditional structure became as legitimate (...) an object of research as the well-known buildings. This approach, innovative and audacious as it was, broke with a Utopian vision of a large part of modern architecture. It led the architects concerned to turn toward non-European countries and to focus their attention on the connections between indigenous housing patterns and cultures. From this decentralization ethno-architecture was born by which we understand the study of preindustrial, “traditional” habitats and housing. Inspired by Panofsky, Eliade, and Lévi-Strauss and familiar with the social sciences, these researchers appropriated the conceptual tools of anthropology. They opened up important fields of research in Asia, Oceania, the Middle East, and Africa and reaped a rich harvest of ethnographic materials. It quickly became clear to them that the so-called “traditional” house developed, in imitation of palaces and temples, from the culture of a given population and that it was informed by the religious images of the inhabitants as much as by its most sacred buildings. (shrink)

The Italian architectural historian Manfredo Tafuri developed a distinctive Marxist approach of critical analysis, which has prompted extensive responses. The reception of his work in the United States in the 1970s and 80s – the intervention of Fredric Jameson, especially – forms an important moment of historiographical mutation, in which the status of Tafuri’s politics holds an intriguing place: it was eviscerated in the very act of its affirmation. At stake is not simply the problems attending the transatlantic migration (...) of a body of architectural theory, but also a question lying at the heart of Tafuri’s analysis: the problems of achieving social reforms, above all, in ‘working-class housing’. The difficulties encountered by projects to improve accommodation – from Weimar Germany and Red Vienna in the 1920s to the programmes of postwar Italy – provide the concrete material for Tafuri’s analysis while remaining a significant blind-spot within most of the commentary. Tafuri is here reappraised in the light of the political debates over the ‘neorealist architecture’ of the 1950s and the reform-policies of the Italian centre-Left in the early 1960s. Proceeding as if this formative moment never happened, Tafuri’s critics often engage in debates which confuse his critique of the building projects with political despair, and which appeal to enclave-building despite Tafuri’s explicit questioning of such strategies. (shrink)

This article studies the architectural design and cultural significance of Villa Namazee, a modernist building designed by Italian architect Gio Ponti in Tehran. The study explores how the building, once a symbol of modernity and progress, has been neglected, delisted from the national heritage, and fallen into disrepair. Focusing primarily on the case of Villa Namazee in Tehran, Iran, as an example of Ponti’s projects in the Middle Eastern context, the second part of this paper aims to reconsider and (...) re-narrate Gio Ponti’s project in Tehran. In this context, the article sheds light on the nationally and internationally prominent concepts, ideas, collaborations, and design elements of Gio Ponti’s project in Tehran. The paper argues for reevaluating our understanding of heritage and recognizing the importance of preserving modern architectural masterpieces such as Villa Namazee. (shrink)

Between 1942 and 1943 seventeen important Italian architects published in “Domus”, which is one of the most prestigious journals of architecture, the designs of their ideal houses. The analysis of their proposals is singularly instructive for those philosophers who are interested in reasoning on the notion of ideal: the results of a precise concrete use of it clarify its philosophical meaning both in regard with the notion of ideal in general and in regard with the notion of ideal (...) human being in particular, if it is true that these architects’ exercises of imagination prove that there is no thought of ideal house if there is no thought of ideal human being as its foundation. (shrink)

This essay opens on the streets of Rome in 2019 among displays of fascist relics, architecture, and memorial sites. Each display speaks to Italy's violent colonial and fascist history, one that continues to be entangled with and to overdetermine Italy's contemporary restrictive citizenship laws and anti-immigrant policies. Here, Paula M. Salvio turns to a psychoanalytic understanding of omnipotence, and to Michael Rothberg's concept of multidirectional memory, in order to pursue the half-spoken history of Italian fascism that is hauntingly (...) absent from Italy's public school curriculum, as well as from sites of public pedagogy such as museums, cinema, memorials, and social media platforms. This absence raises important questions about the ethical obligation education has to teach against omnipotence in conventional classroom settings and sites of public pedagogy. Salvio concludes with a reading of a socially engaged project, the Holocaust Memorial located in the Milan Central Railway Station on Platform 21, that is aimed at teaching against omnipotence. The memorial stands as a site of conscience that is committed to making visible what was hidden for years — the deportation between 1943 and 1945 of Italian Jews from the Milan Central Railway Station to Auschwitz-Birkenau and Bergen-Belsen. (shrink)

From the grotesque pavilions hidden in sixteenth century Italian gardens to the temporary structures in public space in the 70s and recent digitally augmented environments, architectures of play have long been designed to engage explorative experiences. The uncertainty of play allows us to probe new behaviors, to poke into the boundaries of subjectivity and to interact with people, things and systems in unexpected and unfamiliar ways. In this essay, we explore how an interactive system, situated in public space, may (...) foster explorative activities and enable the transformative power of play. Through the analysis of several computer-augmented architectures, we examine what interactive qualities might enhance the transformative power of play. Beginning with the Fun Palace, an early attempt to use cybernetics in order to encourage visitors to experiment with their habits, we move to contemporary projects including some of the author’s own work. The latter takes the advantage of existing public locations in order to insert exploratory play into everyday life. Through analysis of these projects, we discuss whether such environments raise our responsibility toward others within our surroundings; whether they enable us to transform our own established behaviors; and whether they empower us to reclaim public space. (shrink)

A leading young Italian semiologist scrutinizes today's cultural phenomena and finds the prevailing taste to be "neo-baroque"--characterized by an appetite for virtuosity, frantic rhythms, instability, poly-dimensionality, and change. Omar Calabrese locates a "sign of the times" in an amazing variety of literary, philosophical, artistic, musical, and architectural forms, from the Venice Biennale through the "new science" to television series, video games, and "zapping" with the remote control device from channel to channel! Calabrese admits that he begins the book with (...) a refusal to distinguish between "Donald Duck and Dante." Avoiding hierarchies or ghettos among works, he takes his readers on a fast-paced expedition through contemporary culture that closes with an elegant essay on evaluation and classical form. According to Calabrese, the enormous quantity of narrative now being produced has led to a new situation: everything has already been said, and everything has already been written. The only way of avoiding saturation has been to turn to a poetics of repetition. The author shows that pleasure in texts is now produced by tiny variations, and a certain kind of citation from other works has taken on a central importance that would have been unthinkable only a few years ago. In describing this development, and others shared by both avant-garde and mass media, he makes us aware of the rapid shrinkage in the once ample space between "highbrow" and "lowbrow." Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

The assimilation of the architectural sign to the linguistic one, is the way that allow us to analyze the architectural element of the city, according to the symbolic and conventional way, but giving to the architectural sign an iconic value that we could read through reconstruction of city in films. It is possible if we consider city as artwork seen according to the definition of Lynch. There is a temporal and special dimension, the urban dimension, which would otherwise not be (...) ‘visible’ to the naked eye or perceivable with hearing. City as an artwork can be read for more reasons, through the cinema in the translation of an architectural semiotics that finds a double correspondence of Urbs and Civitas, in the real building of the city and in its re-construction. In this contest, some Italian movies of Rossellini, De Sica, Antonioni, for example, beyond the traditional interpretations, can give us indications about the moments and ‘points’ of collapse that we can find in ‘signs’ and ‘singular points’. It’s in these points that we found the signs of evolution, breakdown and collapse of relationship between Urbs and Civitas. (shrink)

Representing a new generation of theorists reaffirming the radical dimensions of art, Gail Day launches a bold critique of late twentieth-century art theory and its often reductive analysis of cultural objects. Exploring core debates in discourses on art, from the New Left to theories of "critical postmodernism" and beyond, Day counters the belief that recent tendencies in art fail to be adequately critical. She also challenges the political inertia that results from these conclusions. Day organizes her defense around critics who (...) have engaged substantively with emancipatory thought and social process: T. J. Clark, Manfredo Tafuri, Fredric Jameson, Benjamin H. D. Buchloh, and Hal Foster, among others. She maps the tension between radical dialectics and left nihilism and assesses the interpretation and internalization of negation in art theory. Chapters confront the claim that exchange and equivalence have subsumed the use value of cultural objects—and with it critical distance— and interrogate the proposition of completed nihilism and the metropolis put forward in the politics of Italian operaismo. Day covers the debates on symbol and allegory waged within the context of 1980s art and their relation to the writings of Walter Benjamin and Paul de Man. She also examines common conceptions of mediation, totality, negation, and the politics of anticipation. A necessary unsettling of received wisdoms, _Dialectical Passions_ recasts emancipatory reflection in aesthetics, art, and architecture. (shrink)

Virilio and Lotringer revisit their prescient book on the invisible war waged by technology against humanity since World War II. In June 2007, Paul Virilio and Sylvère Lotringer met in La Rochelle, France to reconsider the premises they developed twenty-five years before in their frighteningly prescient classic, Pure War. Pure War described the invisible war waged by technology against humanity, and the lack of any real distinction since World War II between war and peace. Speaking with Lotringer in 1982, Virilio (...) noted the “accidents” that inevitably arise with every technological development: from car crashes to nuclear spillage, to the extermination of space and the derealization of time wrought by instant communication. In this new and updated edition, Virilio and Lotringer consider how the omnipresent threat of the “accident”—both military and economic—has escalated. With the fall of the Soviet bloc, the balance of power between East and West based on nuclear deterrence has given way to a more diffuse multi-polar nuclear threat. Moreover, as the speed of communication has increased exponentially, “local” accidents—like the collapse of the Asian markets in the late 1980s—escalate, with the speed of contagion, into global events instantaneously. “Globalization,” Virilio argues, is the planet's ultimate accident.Paul Virilio was born in Paris in 1932 to an immigrant Italian family. Trained as an urban planner, he became the director of the École Speciale d'Architecture in the wake of the 1968 rebellion. He has published twenty-five books, including Pure War and The Accident of Art, both with Sylvère Lotringer and published by Semiotext. Sylvère Lotringer, general editor of Semiotext, lives in New York and Baja California. He is the author of Overexposed: Perverting Perversions, 2007) and other books. (shrink)

In 2006, acclaimed Italian film director Nanni Moretti released Il caimano [“the Caiman”], a surreal depiction of Silvio Berlusconi’s career as controversial businessman and politician. In one of the last sequences, an indicted Berlusconi leaves the courthouse of Milan, while his supporters besiege its premises and set them on fire. Admired for his capacity of prophetically foreseeing the developments of Italian society, Nanni Moretti’s apocalyptic vision was confirmed by reality on March 11, 2013, when a group of deputes (...) and senators from PDL, Silvio Berlusconi’s political party, ‘besieged’ the courthouse of Milan in order to interfere with the new trials the political leader was involved in: an affair of prostitution of minors, known as “the Ruby case”, and the alleged corruption of a senator. Since when Silvio Berlusconi has been the center of the Italian both political and juridical arena, and with the increasing representation of his trials in Italian and international media, the courthouses of such trials, and particularly that of Milan, have turned more and more into the theater of a socio-political showdown, in which what matters though is not only what takes place in the Court, but also, and perhaps even more, what happens in the area surrounding its premises. Here pro- and -anti Berlusconi partisans have gathered daily in order to manifest their stand to both the citizenry and the media; here media professionals have been stationed 24/7, waiting for the next scandal; and here a dramatic battle line between the political power and the juridical one inexorably materializes with all the violent evidence of its proxemics. The essay analyzes through semiotics a series of verbal and especially visual texts representing the courthouses of Silvio Berlusconi’s trials, with the goal of understanding what this imagery reveals of the current trends of Italian socio-political and juridical arena. More broadly, the essay compares this case study with other instances of courthouses besieged by crowds, so as to semiotically seize the delicate equilibrium of the judiciary proxemics between totalitarian and populist ideologies of law. (shrink)

Forums, I extensively analysed Tartaglia’s corpus: science of weights, geometry, arithmetic, mathematics and physics–trajectories of the projectiles, fortifications, included its intelligibility science in the military architecture. The latter is exposed in Book VI of the Quesiti et invention diverse. In Quesiti there is La Gionta del sesto libro—a kind of appendix to the Book VI containing drawings of the geometric shape of the Italian fortifications. It is based on Euclidean geometry and other figures where a scale is displayed. (...) The interest—included intellectual history and cultural foundations of science—is: what is the role–played by La Gionta del sesto libro in the Quesiti? Is it independent booklet/speeches? If yes, when Tartaglia did write it? In this paper, I present an historical–philological–foundational hypothesis on the Tartaglia’s fortifications corpus, as exposed in the Book VI and La Gionta del sesto libro; with respect to dates of editions of Quesiti. This goal is important to make historically clear both the editorial role–played by Curzio Troiano Navò in the Tartaglia’s corpus before—after Tartaglia’s death and the particular interest and development of subject of fortifications by Tartaglia between 1537–1546 and 1554. (shrink)

'Common Pavilions' is based on an exhibition curated by Diener & Diener Architects within the 13th International Architecture Exhibition of the Venice Biennial in 2012. Architecture's social and cultural reality was the theme of the 2012 exhibition, titled Common Ground. Bringing the architectural significance of the 29 national pavilions to the attention of visitors, who usually do not really notice these buildings and their individual character and atmosphere when seeing an exhibition there, was the aim of the Common (...) Pavilions project. The celebrated Italian photographer Gabriele Basilico (1944 2013) has taken pictures of all the pavilions in the Giardini di Venezia. His masterful images are featured in large-format and lavish duotone printing. 30 authors from all 29 nations - architects, philosophers, and artists - have contributed short essays, writing on 'their' national pavilion, its history and its identity as a space for presenting art. Basilico's images and the essays merge into a rich and atmospheric panorama of what is probably the world's best known exhibition site. (shrink)

Serlio achieved fame as an architect and the author of seven books on architecture, but his activities as a painter are hardly known. The recently discovered autograph manuscript reveals his thinking about this 'most noble art': collectively its pages form the introduction to an unfinished treatise on painting. As with his architectural discourse, Serlio's approach to writing about painting is entirely practical. In no sense a humanist reflection on the subject of art, the work was planned as an illustrated (...) manual and pedagogical tool for the novice painter. The discussion opens with a first section on disegno where the rudiments of drawing are outlined. Very quickly Serlio turns to foreshortening and perspectives on the human figure, emphasising the infinite nuances possible as the body to be represented moves. Such concerns disclose the influence of his mentor Baldassare Peruzzi and association with other members of Raphael's studio. As presented in this manuscript, the manual may have graphically resembled Dürer's Vier Bücher in its printed form, but the rules of disegno respect the Italian workshop tradition as we know it from Carlo Urbino's Le regole del disegno and the Leonardesque heritage. Serlio's projected volume of painting instruction may be regarded as a first literary experiment—a precursor to his later illustrated books on architecture. (shrink)

We interviewed Galileo Morandi, a young Italian architect working in a research project on architecture and new technologies and author of several publications about the relation between city, territory and project. The discussion starts and finishes in a place where Morandi studied and worked, Dubai – example of a city in rapid growth and in its way iconic representation of the new globalized cities – passing through Milan and Los Angeles, the new Chinese town and a village in (...) the mountains. The role played by city plans allows to discuss the contemporary city between an architectural perspective and a political awareness. The result is a first partial experiment to connect different urban perspectives. (shrink)

Etymologies are often entertaining, but it is not always obvious what they mean. Take the case of Old Frankish *sal, meaning a single-roomed dwelling. The word was taken over by speakers of Vulgar Latin as sala, and by 1100 CE it had become a word of Anglo-Norman French, since in The Song of Roland it crops up as sale, meaning the living area of a castle. Some time later, it wandered into Italian. Renaissance architects wanted to make a new (...) word for the increasingly grandiose spaces they were designing, so they added an augmentative suffix, producing salone. In the seventeenth century, French translations of Italian works on architecture reproduced the new term, only dropping the final e so as to keep the masculine gender of the Italian. French salon came into English in the early eighteenth century, initially as a word for a large and lofty room; but as French speakers applied it more and more to social functions occurring in such spaces, English speakers did so too. Then came a fork: a phonological adaptation produced saloon, which drifted off as a fully naturalized word of English toward hotels, carriages, bars, and cars; but salon persisted nonetheless. By retaining the stress pattern and marginally nasal final vowel of its source language, the doublet has remained in use as a xenism—a word of English understood to be not English, but understood in English all the same.How many such words are there? Hundreds, maybe thousands. Coupé, du jour, fuselage, pizza, paparazzi, sauerkraut, Zeitgeist—all signal their foreignness either by nonstandard pronunciation of written consonants (s, g, j, z), the presence of foreign diacritics, or irregular tonic stress. These are the kinds of loanwords that Scholar calls “émigrés,” but he gives us not thousands or hundreds or even a dozen of them: his chapters deal only with four: à la mode, ennui, naïveté, and caprice. The histories of these words do not really teach us any more about the cultural, social, and political relations between England and France than do saloon and salon, which is not much at all, or any other set of loanwords that retain phonetic or orthographic signs of foreignness. Scholar nonetheless does his level best to put his favored four at the heart of early modern English culture. Lengthy accounts of a play by Dryden, a famous work of Schiller's, an essay by Raymond Williams, Caribbean notions of creolization, and a John le Carré novel, learned though they all may be, do not really make the argument more persuasive, or even clear. By the end of this beautifully produced and floridly written book, the reader (or at least this reader) is not quite sure what it was really about. The very title of Émigrés repurposes a xenism which in regular usage is associated with high social status (we never talk of émigré workers, for example), thus exhibiting what I suppose the whole field ought to demonstrate: the ways in which new, hard, or nonnative words are always used to establish pecking orders between speakers, between their interlocutors and between their worlds. In Bourdieusian terms: not to make distinctions, but to create distinction. (shrink)

The article examines the impact of the study for Levittown of urban sociologist Herbert Gans on Denise Scott Brown’s thought. It scrutinizes Denise Scott Brown, Robert Venturi, and Steven Izenour’s ‘Remedial Housing for Architects or Learning from Levittown’ conducted in collaboration with their students at Yale University in 1970. Taking as its starting point Scott Brown’s endeavour to redefine functionalism in ‘Architecture as Patterns and Systems: Learning from Planning’, and ‘The Redefinition of Functionalism’, which were included in Architecture (...) as Signs and Systems: For a Mannerist Time (2004), the article sheds light on the fact that the intention to shape a new way of conceiving functionalism was already present in Learning from Las Vegas, where Robert Venturi, Denise Scott Brown and Steven Izenour suggested an understanding of Las Vegas as pattern of activities. Particular emphasis is placed on Scott Brown’s understanding of ‘active socioplastics’, and on the impact of advocacy planning and urban sociology on her approach. At the core of the reflections developed in this article is the concept of ‘urban village’ that Gans uses in US in The Urban Villagers: Group and Class in the Life of Italian-Americans (1972) to shed light on the socio-anthropological aspects of inhabiting urban fabric. (shrink)

Marcel Proust offered the twentieth century a new psychology of memory and seeing. His novel In Search of Lost Time was written in the modern age of photography and art history. In Looking Back One Learns to See: Marcel Proust and Photography is an intellectual adventure that brings to light Proust’s visual imagination, his visual metaphors, and his photographic resources and imaginings. The book features over 90 illustrations. Mary Bergstein highlights various kinds of photography: daguerreotypes, stereoscopic cards, cartes-de-visite, postcards, book (...) illustrations, and other photographic mediums. Portraiture, medical photography, spirit photography, architectural photography, Orientalism, ethnographic photography, and fin-de-siècle studies of Botticelli, Leonardo, and Vermeer, are considered in terms of Proust’s life and work. The net is cast wide, and each image under discussion has been researched with subtle attention to art, literature, and cultural history. This scholarly study in literature and visual culture will be a delight, too, for general readers who love photography or Proust. Mary Bergstein is professor of History of Art and Visual Culture at the Rhode Island School of Design. She won the 2012 “Courage to Dream” book prize from the American Psychoanalytic Association for, Mirrors of Memory: Freud, Photography, and the History of Art (Cornell 2010). She has published numerous books and articles on art and visual culture from Italian Renaissance sculpture to contemporary photography. (shrink)

This work presents a semiotic perspective of aspects of a soundscape evaluation of the city, Supino located in the Province of Frosinone in the Italian region of Lazio. The data and sound sample collection was accomplished through the soundwalk technique undertaken by students of Çankaya University, School of Architecture during the ‘Third International Summer School in Supino’ 17–24 August 2014. For the soundscape evaluation, three zones were identified in Supino as urban, suburban, and intersection. A total of nine (...) samples across three zones were collected during three different times in a day by soundwalks from the areas located in the identified zones. A theoretical model of semiotic interpretations of soundscapes has been proposed and applied for the analysis of Supino’s soundscape. The results showed that the soundscape of Supino differs according to its cultural, habitual, and anthropological tendencies. In addition, the semantic analysis shows that the soundscape composition of the sound sources in the three zones varies by the change of time, sound composition and sources, topography, and settlement of the city. (shrink)

In this article, we provide the first commented edition and translation of an important fragment from Vladimir Zabugin’s posthumous work “The History of the Christian Renaissance in Italy” (Milan, 1924). Zabugin was a Russian historian, philologist and thinker, who lived and worked in Italy in the first quarter of the 20th century. He made an important contribution to the history of ideas with his concept of “Christian Renaissance”, abolishing the postulated antithesis of the Middle Ages and Renaissance as well as (...) the idea of the Renaissance as the revival of antiquity. A sudden death in a mountaineering accident in the Italian Alps prevented Zabugin from completing his outstanding monography: editing the text, compiling notes, bibliography, name index, the absence of which made it very difficult for specialists to refer to the text. That is because a special focus of the present article lies in commenting the fragment and guiding the reader through Zabugin’s key conceptional points. The presented fragment of the first chapter of the book sought to emphasize the continuity of classical and christian culture in Italian proto-Renaissance literature, philosophy, architecture, fine arts. Refering to the eve of the Renaissance (13th century), Zabugin clearly demonstrates how the Christian culture “imperat” here, and the pagan one “ministrat”. (shrink)

Nowadays there is a general acknowledgment of the importance of place in Italian crime novels. In Caponapoli, Massimo Siviero articulates a narrative way in which he approaches the structures, city, and the built environment to reflect the society, cultural relations, transformations and dysfunctions of contemporary Naples. Joe Pazienza, the private detective, has been seen by him recently before he was a reporter. When hired by his first client, Nada Mormile, someone with all the requirements of the dark lady in (...) the right place, he immediately smells “serious” trouble. There is a strange message full of threats at stake, and the construction sites of a substantial building, soon found “suicidal” with his head inside a bag. There is also someone who does not appreciate Joe’s new job as too nosy and goes out of his way to make him understand. Also, there is the Caponapoli. The health complex around which all the mysteries of a violent and fascinating city seem to gather. (shrink)

Book Reviewed in this article: Traditional Sayings in the Old Testament. By Carole R. Fontaine. Pp. viii, 279, Sheffield, The Almond Press, 1982, £17.95, £8.95. The First Day of the New Creation: The Resurrection and the Christian Faith. By Vesilin Keisch. Pp.206, Crestwood, New York, St Vladimirs Seminary Press, 1982, £6.25. The First Day of the New Creation: The Resurrection and the Christian Faith. By Vesilin Keisch. Pp.206, Crestwood, New York, St Vladimir's Seminary Press, 1982, £6.25. The Resurrection of Jesus: (...) A Jewish Perspective. By Pinchas Lapide. Pp.160, London, SPCK, 1983, 4.95. Easter Enigma. By John Wenham. Pp.162, Exeter, Paternoster Press, 1984, £2.95. The Anastasis: the Resurrection of Jesus as an Historical Event. By J. Duncan M. Derrett. Pp.xiv, 166, Shipston‐on‐Stour, P. Drinkwater, 1982, £5.00. The Open Heaven: A Study of Apocalyptic in Judaism and Early Christianity. By Christopher Rowland. Pp. xii, 562, London, SPCK, 1982, £22.50. Christianity Rediscovered: An Epistle from the Masai. By Vincent J. Donovan. Pp. viii, 200, London, SCM Press, 1982, £5.50. Basics of a Roman Catholic Theology. By William A. Van Roo, S.J. Pp.387, Rome, Gregorian University Press, 1982, $21.00. Charisms and Charismatic Renewal: a Biblical and Theological Study. By Francis A. Sullivan. Pp.184, Dublin, Gill & Macmillan, 1982, £5.95. Holiness and Politics. By Peter Hinchliff. Pp.214, London, Darton, Longman and Todd, 1982, £8.95. Rational Theology and the Creativity of God. By Keith Ward. Pp.240, Oxford, Blackwell, 1982, £14.00. The Point of Christology. By S.M. Ogden. Pp.xii, 193, London, SCM Press, 1982, £5.95. Fullness of Humanity: Christ's Humanness and Ours. By T.E. Pollard. Pp.126, Sheffield, The Almond Press, 1982, £9.95, £5.95. Milton's Good God: A Study in Literary Theodicy. By Dennis Richard Danielson. Pp.xi, 292, Cambridge University Press, 1982, £20.00. Biblical Tradition in Blake's Early Prophecies: The Great Code of Art. By Leslie Tannenbaum. Pp.xiii, 373, Princeton University Press, 1982, £17.60. The Inner Journey of the Poet and Other Papers. By Kathleen Raine, edited by Brian Keeble. Pp.xii, 208, London, George Allen and Unwin, 1982, £9.95.iVol. 34: Horayot and Niddah. Translated by Jacob Neusner. Pp.xiii, 243, Chicago, The University of Chicago Press, 1982, £17.50. Holy Land Pilgrimage in the Later Roman Empire A.D. 312–460. By Ed. Hunt. Pp. £+ 269, Oxford University Press, 1982, £16.50. Constantine versus Christ: The Triumph of Ideology. By Alistair Kee. Pp.186, London, SCM Press, 1982, £5.95. Society and the Holy in Late Antiquity. By Peter Brown. Pp.347, London, Faber and Faber, 1982, £10.50. Elishe: History of Vardan and the Armenian War. Translation and commentary by Robert W. Thomson. Pp.x, 353, 1 map, Cambridge, Harvard University Press, 1982, £21.00. Ireland in Early Mediaeval Europe: Studies in Memory of Kathleen Hughes. Edited by Dorothy Whitelock, Rosamond McKitterick and David Dumville. Pp.x, 406, Cambridge University Press, 1982, £39.00. Letters from Ireland 1228–1229 by Stephen of Lexington. Translated with an introduction by B.W. O'Dwyer. Pp.vii, 292, Kalamazoo, Cistercian Publications, 1982, $24.95. The Occupation of Celtic Sites in Ireland by the Canons Regular of St Augustine and the Cistercians. By Geraldine Carville. Pp.ix, 158, Kalamazoo, Cistercian Publications, 1982, $13.95. Chartres: The Masons who built a Legend. By John James. Pp.200, London, Routledge and Kegan Paul, 1982, £17.50. Temples, Churches and Mosques: A Guide to the Appreciation of Religious Architecture. By J.G. Davies. Pp.x, 262, Oxford, Basil Blackwell, 1982, £12.50. The Murdered Magicians: The Templars and their Myth. By Peter Partner. Pp.xxi, 209. Oxford University Press, 1982, £12.95. The Italian Crusades: The Papal‐Angevin Alliance and the Crusades Against Christian Lay Powers, 1254–1343. By Norman Housley. Pp.xi, 293, Oxford, Clarendon Press: Oxford University Press, 1982, £17.50. The Westminster Chronicle, 1381–1394. Edited and Translated by L.C. Hector and Barbara F. Harvey. Pp.lxxvii, 563. Oxford, the Clarendon Press, 1982, £42.00. Frömmigkeitstheologie am Anfang des 16. Jahrhunderts. By Berndt Hamm. Pp.xv, 378, Tübingen, J.C.B. Mohr, 1982, 168 DM. Erasmi Opera omnia, IX, 2: Desiderii Erasmi Roterodami Apologia respondens ad ea quae Iambus Lopis Stunica taxavrat in prima duntaxat Novi Testamenti aeditione. Edited by Henk Jan de Jonge. Pp.292, Amsterdam, North‐Holland Publishing Company, 1983, 280 guilders. The Christian Polity of John Calvin. By Harro Höpfl. Pp.x, 303, Cambridge University Press, 1982, £27.50. Concerning the Eternal Predestination of God. By John Calvin, translated with an Introduction by J.K.S. Reid. Pp.191, Cambridge, James Clarke & Co., 1982, £5.95. Spanish Protestants and Reformers in the Sixteenth Century: A Bibliography. By A. Gordon Kinder. Pp.108, London, Grant & Cutler, 1983, £6.80. Moderate Puritans and the Elizabethan Church. By Peter Lake. Pp.viii, 357, Cambridge University Press, 1982, £27.50. Resistance and Compromise: The Political Thought of Elizabethan Catholics. By Peter Holmes. Pp.viii, 279, Cambridge University Press, 1982, £22.50. Dutch Puritanism: A History of English and Scottish Churches of the Netherlands in the Sixteenth and Seventeenth Centuries. By Keith L. Sprunger. Pp.xiii, 485, Leiden, E.J. Brill, 1982, 172 guilders. John Toland and the Deist Controversy. By Robert E. Sullivan. Pp.viii, 355, Cambridge, Harvard University Press, 1982, £19.95. Radical Sects of Revolutionary New England. By Stephen A. Marini. Pp. 213, Cambridge, Harvard University Press, 1982, £11.55. Religion and Society in North America: An Annotated Bibliography. Edited by Robert deV: Brunkow. Pp.xi, 515, Santa Barbara, ABC‐Clio; Oxford, EBC‐Clio, 1983, £57.75. Charles Lowder and the Ritualist Movement. By Lida Ellsworth. Pp.vi, 234, London, Darton, Longman & Todd, 1982, £17.95. How the Pope became Infallible: Pius IX and the Politics of Persuasion. By August Bernhard Hasler. Pp.xi, 383, New York, Doubleday, 1981, $14.95; London, Sheldon Pres, 1982, £15.00. Hauptsache der Papst ist katholisch. Edited by Bruno Nies. Pp.104, Salzburg, Otto Müller, 1982, öS 140. Religious Change in Contemporary Poland: Secularization and Politics. By Maciej Pomian‐Srednicki. Pp.227, London, Routledge & Kegan Paul, 1982, £12.50. World Christian Encyclopedia: A Comparative Survey of Churches and Religions in the Modern World. Edited by David B. Barrett. Pp.1010, Nairobi, Oxford University Press, 1982, £55.00. Probability and Evidence. By Paul Horwich. Pp.vii, 146, Cambridge University Press, 1982, £15.00. Philosophical Foundations of Probability Theory. By Roy Weatherford. Pp.xi, 282, London, Routledge and Kegan Paul, 1982, £15.00. The Origins of Greek Thought. By Jean‐Pierre Vernant. Pp.144, London, Methuen, 1982, £9.95. Portraying Analogy. By J.F. Ross. Pp.xi, 244, Cambridge University Press, 1981, £20.00. The Marriage of East and West. By Bede Griffiths. Pp.224, London, Collins, 1982, £5.95. The Religious Experience: A Socio‐Psychological Perspective. By C.D. Batson & W.L. Ventis Pp.ix, 356, New York, Oxford University Press, 1982, £18.50,£9.95. (shrink)

Upshot: Jehane Barton Burns (now Jehane Kuhn) worked with Ernst von Glasersfeld in the 1960’s on semantic analysis for machine translation at Silvio Ceccato’s Centro di Cibernetica at the University of Milan. Among subsequent formative experiences, she lists Italian travels with Howard Burns, historian of architecture (who first told her about Vico), and a decade in the Office of Charles and Ray Eames (where Constraints was a talismanic word). She and Thomas Kuhn married in 1982; she still considers (...) the English language her raison d’être. (shrink)

Nature's simplest atom and mother of all matter, hydrogen feeds the stars as well as interlaces the molecules of their biological descendants – to whom it ultimately whispers the secrets of quantum reality. Hydrogen’s most prevalent earthly guise lies within the composition of water. A slight electrical disturbance can split water into hydrogen and oxygen gas, resulting in diaphanous bubble clouds slowly rising towards the liquid’s surface. Though the founding fathers of electrochemistry posited that the mass of liberated bubbles is (...) directly proportional to the input voltage, certain modes of electrolysis release more energy than is spent. One such mode involves water’s Janus-faced capacity to react as either an acid or a base. Emanating from an array of electrodes at the bottom of a water-filled chamber, strings and strata of hydrogen bubbles meticulously trace their emergent surroundings. In addition to eddy formations incited by a bubble's rapid growth and subsequent detachment from the electrode surface, acoustic vibrations permeate the two-phase fluid. As the sonic frequency and amplitude rises, the hydrogen bubbles start to coalesce with one another. When the sound field reaches maximum intensity, it can trap bubbles within its antinodes. The vibrations are generated both by transducers and by the bubbles themselves, which emit frequencies ranging from the audible spectrum to as high as 800 kHz. A white laser sheet scans and illuminates the hydrogen bubble trajectories. Each quivering bubble-lens divides the white light into its constituent spectrum of colors. While scanning, the laser sheet also swiftly pulsates and thereby extends the perceivable resolution of micro-momentary bubble dynamics. Before it even begins to map out its vibratory environment, a bubble goes through various stages of spatio-temporal evolution. During the first phase of growth, a bubble nucleus inflates linearly with time. At the second stage, bubble growth is limited by the diffusion of gas within the liquid, causing its size to increase as the square root of time. The final phase before detachment is limited by the kinetics of dissolved gas production, causing the bubble to grow as the cube root of time.1 Beyond macroscopically observable bubbles, an expanse of nanobubbles hides within the water’s internal architecture. Some researchers presume that these nanobubbles of dissolved gas are the carriers of water’s magnetic ‘memory’, enabling electromagnetic fields to saturate its innards for hours and even days after their initial appearance. In the seas and oceans, the lingering presence of electromagnetic fields photonically imparted by sunlight, triggers the electrolysis responsible for most of the Earth’s hydrogen. An essential form of photosynthesis, solar water splitting is the cleanest and most efficient means imaginable for generating and storing energy. —Evelina Domnitch & Dmitry Gelfand *** Animals and plants are formed in earth and in water because there is water in earth, and there is pneuma in water, and there is soul heat in all pneuma ; so that in a way all things are full of soul. Hence plants and animals quickly form once this gets enclosed; and when this enclosing happens, when the corporeal liquids get heated, a sort of frothy bubble is formed. Now the difference between the various creatures which are produced in this way are due to the stuff which makes up the envelope around the soul-source.2 Throwing light into this pneumatic spray of perdurances, which would otherwise swarm below the threshold of human visibility, Evelina Domnitch and Dmitry Gelfand’s Hydrogeny saturates the viewer’s sensorial space with the nano-architectures of froth. Straddling the cell wall between scientific enquiry and artistic praxis, Hydrogeny , beckons a recasting of Lucretius' clinamen in tune with the technologies of the modern observer. For Lucretius it was the indeterminate swerving of an atomistic layer of reality which accounted for the unpredictability of change and the existence of free will. Taken up by Harold Bloom to describe the swerving of cultural production from that which has already been made, the idea has since been textually redressed by Lacan, Derrida, Serres, Deleuze, Nancy, and Badiou. Here we have been given a kaleidoscopic technique for refining and expanding awareness of our enmeshment with so many nested, atomistic layers of object-bubbles—of things—as Aristotle might say,“full of soul.” The gravitational pull of Hydrogeny ushers a de-centered human spectatorship to the ever more intimate recesses of what media philosopher N. Katherine Hayles calls our capacity for “deep attention.”3 Vaporous attention suspended and re-oriented. Microscopic as these diaphanous waves are, the calling they produce is anything but inconsequential. Evelina Domnitch and Dmitry Gelfand are two-thirds of the Amsterdam-based Art–Science Labratory, Optofonica , an atelier initiated by the Italian interdisciplinary artist TeZ in 2006. Follow more of their work at www.portablepalace.com —Isaac Linder NOTES (1) cf. Brandon, Kelsall, Levine, & Smith. “Interfacial Electrical Properties of Electrogenerated Bubbles.” Journal of Applied Electrochemistry 15 (1985):485-493. (2)Aristotle, On the Generation of Animals, 762a18, tr. A. L. Peck (Cambridge, MA: Loeb Classical Library, 1942). (3)“ My article on hyper and deep attention ,” N. Katherine Hayles, accessed on September 14, 2011. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Philosophy of GardensRonald MooreA Philosophy of Gardens, by David E. Cooper. Oxford: Oxford University Press, 2006, 173 pp., $35.00 cloth.It is very likely that more people devote more aesthetic attention to gardens and their contents than they do to any other set of objects in the art world or in natural environments. Despite this, however, there has been very little philosophical writing devoted specifically to the aesthetics (...) of the garden experience. Mara Miller (The Garden as an Art, 1993) and Stephanie Ross (What Gardens Mean, 1998) have written important studies of gardens from the philosophical point of view. John Dixon Hunt has written several philosophically informed studies from the historical point of view (The Figure [End Page 120] in the Landscape: Poetry, Painting, and Gardening during the Eighteenth Century, 1976; Gardens and the Picturesque: Studies in the History of Landscape Architecture, 1992; Garden and Grove: The Italian Renaissance Garden in the English Imagination, 1600-1750, 1996). But apart from this valuable handful of discussions, the subject area has received scant scholarly attention. David Cooper's new book, A Philosophy of Gardens, is a very welcome addition to this underscrutinized field of inquiry.Cooper makes it clear at the outset that he does not aim to answer the questions regarding gardens that have attracted most philosophical attention to date, questions like "How do we define 'garden'?" "What are the standards of comparative aesthetic garden quality?" and "Should gardens be regarded as chiefly works of art or as products of nature?" Such questions are both important and quite predicable in the context of late-twentieth-century Anglo-American philosophy. Cooper aims to redirect attention to what he calls the deeper question of the significance of gardens, a question that turns out ultimately to be about the way in which gardens represent a serious contribution to "the good life." The good life, as he speaks of it, is neither la dolce vita nor the life of strict moral virtue. Rather, it is something approximating Aristotelian eudaimonia, a life in which inculcated capacities and strengths of character lead to informed and appropriate ways of acting, feeling, and evaluating.This is an attractive and unconventional project, one that spills over from aesthetics into ethics, philosophical anthropology, and (ultimately) theology. The clever argument that Cooper develops makes the project intriguing and informative, even in a few areas where its conclusions are not altogether convincing. Key to Cooper's distinctive approach is his insistence on regarding gardens not merely as focal objects of aesthetic regard and appreciation but also, and more importantly, as settings in which people engage in a range of distinctive, virtue-inducing practices. Some of these practices (for example, planting, cultivating, and pruning) foster personal virtues by requiring the submission to the discipline of caring and informed superintendence. Others (for example, conducting garden parties, swimming in a garden pool, indulging in solitary reverie) foster both personal and communal virtues by locating human pursuits in a setting that itself exemplifies vitality, change, and thriving. Cooper insists that it is only through the infusion of human activity in working cooperatively with nature to create them and then in dwelling in them appreciatively that gardens reveal their true meaning.The proper notion of garden meaning, Cooper argues, does not conform to either of the two canons of appreciation that have dominated discussion to date—the art model and the nature model. The art model fails because, in its effort to align the appreciation of gardens with that of landscape painting and other familiar aesthetic artifacts, it neglects gardens' fundamental condition as places where living, growing things call upon us to tend them and cooperate in their vitality. The nature model fails because gardens are unlike meadows and mountains in that they are—to some extent—contrived by humans and imbued with purpose by them. Moreover, Cooper argues, the distinctive meaning of gardens cannot be captured by combining (or "factorizing") the two models, that is, by regarding gardens as mixed phenomena of art-and-nature. This is because there is nothing in the two, taken separately, that can account for what is peculiar to our experience of garden aesthetics when they... (shrink)

‘In Stymphalos there is also an old sanctuary of Stymphalian Artemis. The image is of wood, mostly gilded. On the roof of the temple there are also representations of the Stymphalian birds. It was difficult to discern clearly whether they were made of wood or plaster, but my examination suggested that they were of wood rather than plaster.’Pausanias' reference to the Stymphalian birds of the temple at Stymphalos was taken by the German scholar, Bliimner, to indicate that stucco reliefs were (...) produced by the Greeks; and, despite the caution of Miss E. L. Wadsworth, 3 the inference that plaster was used for architectural sculptures of some form in Classical Greece has clearly been accepted by M. Cagiano de Azevedo and N. Bonacasa in the two great Italian encyclopedias of art. (shrink)

The organization of the mobile atomic exhibition, Mostra Atomica, designed by the United States Information Service to travel through Italy in 1954–55, had to meet technical, scientific, artistic, and political challenges. The head of the group in charge of the exhibition was architect Peter G. Harnden whose pedigree in the intelligence and training in architecture were an ideal match for leading the unit dedicated to exhibitions. The political sensitivity of the Mostra Atomica also required the intervention of the (...) class='Hi'>Italian Ministry of the Interior to guarantee safe mobility and secure shows. In every major town, American and British diplomats attended the local opening ceremony, while the very symbol of science diplomacy was Enrico Fermi, whose recorded message praised international cooperation. All in all, the USIS campaign promoting peaceful applications of nuclear physics was successful in reaching and involving Italian society. Visual and spatial aesthetics were particularly relevant: the geometrical design of the exposition rooms conveyed a strong sense of modernity that contrasted with the artistic heritage of Italian cities. The present article is based on archival files, newspaper reports, and photographs that document who was responsible for planning, setting up, and reporting this Cold War propaganda event. (shrink)

In this beautifully illustrated book Maria Antonella Pelizzari traces the history of photography in Italy from its beginnings to the present as she guides us through the history of Italy and its ancient sites and Renaissance landmarks. Pelizzari specifically considers the role of photography in the formation of Italian national identity during times of political struggle, such as the lead up to Unification in 1860, and later in the nationalist wars of Mussolini’s regime. While many Italians and foreigners— such (...) as Fratelli Alinari or Carlo Ponti, John Ruskin or Kit Talbot—focused their lenses on architectural masterpieces, others documented the changing times and political heroes, creating icons of figures such as Garibaldi and the brigands. Pelizzari’s exploration of Italian visual traditions also includes the photographic collages of Bruno Munari, the neorealist work of photographers such as Franco Pinna, the bold stylized compositions of Mario Giacomelli, and the controversial images created by Oliviero Toscani for Benetton advertising in the 1980s. Featuring unpublished works and a rare selection of over one hundred images, this book will appeal to art collectors and students of art history and Italian culture. (shrink)

Summary Exchanges of learning and controversies between engineers and mathematicians were important factors in the development of early modern science. This theme is discussed by focusing, first, on architectural and mathematical dynamism in mid 16th-century Milan. While some engineers-architects referred to Euclid and Vitruvius for improving their education and argued for an institutional reform of their profession, Girolamo Cardano and other mathematicians explained the De architectura and studied the inventions of the arts. Attention is drawn, then, to the entrance in (...) the field of hydraulics of Benedetto Castelli, a Galilean mathematician who criticised some basic engineering methods but also relied on engineering experience. This mix of criticism and appropriation of engineering notions was particularly highlighted by Domenico Guglielmini, who saw in the study of the nature of rivers the key for their control and improvement. A further facet was the growing distinction among the practitioners. In 16th-century Milan professional distinctions appeared in a grand scale cadastral survey of the whole state and in the establishment of a professional body of engineers-architects and land surveyors. It was not a peculiarly Italian trend. In the postscript some remarks are added to show that a partly similar differentiation was also taking place among E.G.R. Taylor's mathematical practitioners of Elizabethan England. (shrink)