technicolor / home Riccardi 
Information material architecture
- Thoughts and notes on the course Caad 09 of Prof Antonino Saggio \u0026lt;\u0026lt;
-
- The information and the application of a convention at a given.
A dot drawn on a white sheet may be a zero, one or a small segment so as not to see the details (you will enter on its measurement) can be anything depending on the agreement that I apply to that data. - Toffler in his "third wave" exemplifies the history of mankind in three revolutions: the first is the farm, the second is the industrial and electrical engineering, the third is electronic. (Without going into all the implications of the case and without Toffler was an architect).
The company is structured so it is based on 'information, why? The story exemplifies this aspect of the car. The birth of the Model T Ford represented the pinnacle of standardization in the automotive industry americana.”Non importa che macchina sia basta che sia nera”(H.Ford) esprime bene quanto fosse di disinteresse la scelta e la personalizzazione dell’utente di fronte al paradigma del funzionamento e della qualità intrinseca della vettura.Oggi si da per scontato che un’automobile funzioni ed abbia un alto standard prestazionale mentre la scelta che operiamo è di tutt’altro genere.L’esempio tipico è della Smart e delle vetture personalizzabili(perfino online) nelle quali scegliamo colore ,gadget,tettino, e adesivi affinchè non vi siano due automobili identiche.E’ cambiato il paradigma di produzione e di consumo.
Un qualsiasi frutto al mercato è oggi
80 %
information only and the remainder is divided into good physical (cultivation and extraction from the soil) and transport bene.La card we use at the supermarket is a statistical indicator that samples the age group that consumes some apples and did not consume other. A piece of information that sold on the market determines the greater or lesser production of yellow rather than green apples and sampling and into the purchase of a computer database mela.Questo simple process is + important and predominant of the same crop of apples without know who to be sold and in what amount an investment turns out to be counterproductive in the bud. We think instead
reversal rappresentata dalla precedente
epoca agricola nella quale il 90% era
bene di consumo
e solo il restante era informazione (pensiamo all’avvento piuttosto recente degli ingredienti e delle etichette di provenienza e trasporto che prima non erano richiesti e solo in ultima battuta al contenuto pubblicitario di packaging della confezione) ------------------------------------------------------------------------------------------------ la comunicazione marsupiale
esisto in quanto rappresento
esisto in quanto funziono
esisto in quanto informo Rappresentare è stata un esigenza dell’architettura passata,storica,del monumentalismo.
Funzionare è un paradigma appartenuto all’epoca industriale,emblema meccanicistico.
Informare è quel che fanno le architetture di oggi.
Il problema del formarsi di una coscienza estetica riguarda l’architettura della modernità nella maniera in cui Zevi interpretava questo concetto: LA MODERNITA’
è quello che fa della crisi un valore suscitando un‘estetica di rottura (Zevi* si rifaceva ad una frase di Baudrillard che a sua volta interpretava una serie di concetti esistenti). L’estetica così interpretata è + simile al concetto di “corto circuito” (tratto dall’introduzione alla rivoluzione informatica del prof.Antonino Saggio) nella quale un salto in avanti è richiesto per comprendere e attivare meccanismi sensoriali rimasti celati e rivelati soltanto dall’arte.La stessa definizione di estetica portata avanti nel testo si rifà al ruolo dell’artista come colui che da delle risposte a domande ancora non formulate (ponendo in essere l’intrinseco meccanismo del rivelare la domanda senza nessuna formulazione di partenza). Il momento della narrazione nell’architettura “moderna” One type of such communication can be defined as marsupial.
This is architecture that is part of the paradigm and anticipating questions before they answer the same question is formulato.E 'inside and outside the concept of informazione.Ne part but raised a question as if he were outside with its own autonomy. 
Today it is absolutely for granted that architecture functions, what is the added value is precisely the narrative, the ability to tell a story, its poetic, transfer and generate sensations (such as drama amazement, the shock and provocation as a weapon if we are) therefore not a communication of an objective nature but
"new subjectivity" which makes use of metaphor and symbol as its catalyst.
* Zevi, as well as some steps Banham, reported a book written by Umberto Boccioni, hard and in no uncertain terms: "The young people of our generation, looking at the development of Italian art in the nineteenth century, must blush with shame and tears of despair. E'quasi unbridgeable abyss of ignorance, cowardly apathy that separates Italy, called by the country's archaeological irony of art, from aesthetic sensibility of the other civilized countries. Who now considers Italy as the "land art" is a necrophiliac who considers a cemetery as a delightful alcove [...] In Italy there is no money, no shortage of power: the lack of modern brains. " continues on ... anthitesi
The symbolism of Utzon: Sydney house, completed in 1973, retail sails.
------------------------------------------------ -------------------------------------------------
the long crisis of the nineteenth century ...
Boullee and Ledoux sono architetti visionari che reinterpretano forme classiche con una nuova concezione tutt’altro che votata al decorativismo.Forme pure innestate in maniera provocatoria e con una teoria della percezione delle forme che è una guida vera e propria nella progettazione.”l’architettura deve produrre emozioni” (cit.Ledoux) Tra queste lo stupore e la meraviglia del salto di scala, e l’attenzione al colore ed ai solidi platonici.
la figura dell’ ingegnere… Esuli dal loro contesto storico le sperimentazioni di questi due architetti francesi rimarranno su carta per il crescente sviluppo e legittimazione della figura dell’ingegnere.Formatosi presso le scuole politecniche,è in grado di handle and scientifically to size the new construction material: iron.
The development of "heavy" and the architecture of the iron requiring his expertise. A prime example is the birth of the Chicago School and the skyscraper as a fact in which the structure engineering point mechanical and follower (elevator) are readily applied field of study for the reconstruction of modern Chicago destroyed by fire in 1871.
The City of Chicago destroyed by fire in 1871.L 'episode will make urgent reconstruction, with a new type: the skyscraper
Se la cultura ingegneristica si faceva avanti con forza sia nell’accademia che nella pratica costruttiva,padroneggiando l’uso del ferro e delle nuove leghe,il corso dell’ottocento è pieno di ripensamenti e di storie parallele che conducono verso la modernità. L’art nouveau … Alla fine del secolo l’art nouveau è un esempio di un rinnovato interesse verso la pratica della decorazione floreale in connubio con l’ormai consolidata architettura del ferro. La stazione ferroviaria è poi un esempio paradigmatico dell’uso delle nuove concezioni strutturali rispondendo al bisogno di nuove stazioni per la crescita dei tracciati ferroviari( fonte di commercio and displacement of people and thus a cultural openness of the European Union). Paradigmatic however, is the construction of the station in Milan and redundant forms of neo-classical era full of turmoil and now advanced (second building from 1926 forward
1865 station in Milano in the reproduction of the "newspaper of the engineer and architect"
expansion from 1926 onwards ... Art and Craft
William Morris takes charge of culture at odds with all ' mass industrialization, and echoes the craft as a recovery operation of a knowledge and a knowledge that the industry standard and can not contemplare.Morris Ruskin's theories are very popular and spread throughout Europe. Design, applied arts and architecture are capitalized in the experience of house red and the Arts and Crafts are a resistance-the-century experience with much to share experiences and artistic avant-garde in the first place with the Decadent. The art and the rejection of the industrial model The decadence in all its forms and refuses shuns life as a mechanistic era industriale.Poeti storytellers and took refuge in themselves and find the strength to resonate with buildings and architecture of industrialization. criticize suffering and live with the advent of the assembly line, and contribute to the creation of a disagreement mainly expressed in an aesthetic key. This humus is widely collected by art that is in the foreground is committed to creating a new understanding of aesthetics and ethics mondo.Dall 'impressionism (which is fragmenting the representation of reality in strokes and techniques that give the impression of something real, yet distant and nebulous) to reach the final rupture and crushing of Cubism that desecrates the last remnants of a "classical" model of painting survived in the other "isms" and here bandito.Il completely bad, the ugly, the monstrous become part of the pictorial composition and reinvent without inhibiting the human figure and the concept of anticipatory paesaggio.Insegnamenti so as to be included in the field of architecture only in the late 70th and throughout the experience deconstructionist (80 -90) which fragment the landscape and I believe a substantial anti-classical. Picasso: Les Demoiselles d'Avignon The abolition of any symmetry and any rule of perspective is the realization of a mental space that reale.La + physicality of "women" is entrusted to the use of African masks, to note the offset of the eyes to emphasize the coexistence + points of view and therefore an unreal space and fractional.
Picasso: Portrait of Vollard / observer's point of view is not unique but rather revolves around the subject portrayed within this vision by creating multiple and multifaceted. (Splitting of the character)
------- -------------------------------------------------- ----------------------------------------
the arrival of the catalyst
the Bauhaus Dessau 1925
The birth of the Bauhaus marked the advent of a new "aesthetic objective" of architecture, and in a resolute way is by posting it experiences and artistic avant-garde painting showed impatience with the industry and I broke away with as much force acceptance of the story (as tired continuation of the style of decoration) to propose a new architectural model sull'antisimmetria based on the discontinuous structure, the mechanical movement, and the use of transparency as a new catalyst architecture.
The refusal of the Cathedral ... In the first draft of the project for the Bauhaus Gropius was asked to build a "cathedral", but the rejection was clear and categorical: no cathedrals as a model that uses the history and styles for a modern functional program. Thus was born "aesthetics of rupture" that formalized the membership of the industrial era and functionalism. Cathedral Failure of the Bauhaus ...
The use of glass becomes emblematic for the resolution of many aspects of architectural Bauhuas think. The glass reflected the functions it contains within declaring the existence outside. At the same time the glass lets in light in large quantity and assumes that the expressive and lyrical sought by Bruno Taut.Gli environments then become hygiene in the workplace which is looking to produce (Fagus factories) as sostare.Un new attitude is to reveal the inner workings without lies outside and show it as part of a production process in which the assembly line, the transformation process exemplifies the model of life and work of the company period.
the use of glass as a catalyst, creating a new concept of transparency.
Today the catalyst of our company is undoubtedly the interactivity. costumes in the experimental theater of the long testing time Bauhaus.Una the mechanization of the scene for the movement of to create settings and scenes as spectacular as rotations and displacements of different assemblies or fifth stage, create different patterns of use for both the actors and the audience.
The interactive technology allows you to instantly change costumes and characters, as well as change of scenery and environments without the need of any "mechanical gear" then the exclusion of a number of support structures such as dressing rooms, backstage, changing times and the scenery more ... --------------------- -------------------------------------------------- -------------------------- FIN And sooner or CICL O D I LESSONS - -------------------------------------------------- ----------------------------------------------
Main 
above: Zen garden at the headquarters of UNESCO 
Prestinenza Puglisi writes in "average" (go to link>>) : 
