What Glue To Use On Bath Doors
Beyond the sense of place 
Il contenuto del post è una breve e sintetica trattazione (un promemoria) della ricerca svolta per l'esame di 
Storia dell'architettura contemporanea della prof. Alessandra Muntoni .
I l sottile filo che lega l’uso della linea come strumento progettuale,intenzionalmente simbolico,nella storia dell’architettura contemporanea conferma la definizione quasi fisica che Vasilij Vasil'evič Kandinskij ne dà ai tempi in cui l’artista d’avanguardia insegnava alla scuola del Bauhaus volendo abolire la mera considerazione that the line is a simple combination of points. "In terms of graphics" objective "there are engravings which consist only of points, where points should give the illusion of the line. It 'clear that, at the base, in this case, there is an unwarranted use of the point, which weakened and oppressed by the adjective in the sound, is sentenced to a pseudo life miserable. "From" point, line, surface, "p. . 53-54 .** above: drawings Lebbeus Woods 
L
line now presented
defined as "invisible entity"
produced by external forces of motion is not adopted and embraced by the architecture only in its weak graphics, but use as enzyme dynamic spokesman for meaning by which to identify the cultural backgrounds of its origin. The phenomenon of Art Nouveau is an inspiring example of living a spirit of dialectical and two-way towards understanding how the line force field alive and reagent to each stimulus from the outside. The concept è mutuato dalla natura, presa a prestito come soggetto ispiratore e organigramma formale del “nuovo linguaggio”.
La linea diviene strumento omnicomprensivo del quale innamorarsi e dentro al quale perdersi e volteggiare vorticosamente.L’art nouveau fa della linea un tool progettuale per distinguere lo spazio pensato da quello solo immaginato ed intuibile attraverso la metafora costante della natura e della linea forza.
Sopra: Parodia di Van de Velde disegnata da Van der Bloede
L’
architetto e designer belga
Van de Velde the attention raises for the first
empathetic relationship between the line and its designer, tying in the concept of force. The "
line-force"
fact "
transmits the force and energy of what has drawn
" allowed within a historical movement of resistance from the industrial age, which may be termed the ' Art Nouveau, to move from one line concept understood as defining the limits of the geometric object instead of coming to a line that manages to convey the characteristics of the bourgeoisie of the early nineteenth century. Bourgeoisie and nature are ideologically merged and weighted at one o'clock ' other in una parallelismo atto a dimostrare la fruizione del potere anziché il suo conseguimento.
Borghesia vitale,borghesia libera,borghesia creativa,borghesia opulenta. Borghesia che non ha alcuna necessità di essere morale. E poi ancora borghesia fiera che rifiuta l’eclettismo,inteso come saccheggio storico. Borghesia elevata a concetto di natura viva e orgogliosa . Ma non è cosi rapido e netto il collegamento tra natura e linea. La natura di cui si fa portavoce la linea è quella già “estetizzata” da Blake e Morris. Una linea carica di significato ma anche di contraddizione allo stesso tempo. Svela il conflitto più grave dell’art nouveau e cioè il rapporto con i materiali e la storia On the one hand, the rejection of progress, understood as a dehumanization of the other series and manufacturability in the procedure receives the machine. Use the iron, but in a non-reproducible.
In the house of Dr. Tassel (above) Victor Horta decides to give expression to the railing drawing the intricate plot and the ramifications of the leaves from which emerges a slender cast-iron barrel explodes Ribbon in the capital and phytomorphic terminal that supports the structural soffit of the stairs. S
oltanto
the term "abstraction" (as a simplification of the elements and
multiplication of meanings) of Mackintosh welcomed by Hoffman, the line acquires the power of design method, defined as decomposition of the volume. The continuum internal, emanating from the unique dining room with double height Stocket Palace (which has the frieze by Gustav Klimt image) exactly matches all'unicum outside line that defines the boundary. For the first time the line breaks down the volume on the surface because it is specially remarked by a curb Copper embossed decoration. The experience is not dissimilar to that of the Sanatorium of the same architect, where the line wants to emphasize a kind of freehand marking the attack on the sky.
above Stoclet Palace Josep Hoffman
It 's the straight line, therefore, free from imitation and curves that is better able to split the marble walls and create a continuous coil that highlights the theme of the square, with dear Hoffman, and hence of the surface. It 's the first step towards starting the movement that comes from Cubism to De Stijl. The reductions and invariant in the desire to reduce architecture to a single fund will bring the De Stijl inevitably the topic of "composition" or "breakdown" in the primary elements and "abstract" (to return to Mackintosh). Inevitably, therefore, the close relationship between Palace and Stocket
House
Rietveld Schröder.
ltra A key issue in contemporary architecture is that of narrative. The appearance narrative and the relationship with history has always crossed cultures and designers at the service of different nationalities. Emblematic the case of Daniel Libeskind and his irrational and wholly original approach to the study of architecture in line. Libeskind draw the largest and most significant research on the subject, challenged the basic concept of Euclidean space and perspective of history as well as conventional rational sequence data. The architect is going through a relationship with the particular history and chooses to be between zero and infinity. " His writings, drawings and collages defy any classification for its originality and conceptual depth. Above: Chamber works by Daniel Libeskind (set of 24 drawings) see drawings Since the Chamber works (a series of 24 drawings of 1983) Libeskind proposes abstract processes and studies that have much in common with the known teachings by Kandinsky at the school of Bauhauas, focusing in particular on line and leaving about a timeline, and bode well to the space above the urban context or the same globe, placing well above a small reference system and escape through collage in art and design as a representation syntactic alternative realities. "Micromegas" and the conceptual work of the young Libeskind are daughters of a cultural climate load Libeskind intellectual depth with which it comes into contact within the Cooper Union Direct Hejduck. This approach assumes the paradigm of the irrational. Libeskind claims that the best works come from the irrational, but what prevails in the world, dominating and often kills, is always in the name of ragione.A difference in the work of the same year as Delirious New York, the paper-work architectures or that operated by disassembling and rebuilding the city in a continuous process of review language of architecture, against the work of Daniel Libeskind does not have a physical object of study but are the basis of experiments to produce a new line is no longer descriptive sintassi.La but prefigurative (foreshadows possible scenarios in a space time and space with infinite lives, as if it were a representation of infinite Escher) 
To decode and encode the space, the architect uses the rebus, freed from fixed rules and limitations in interpreting and using the same times + "matrix" composition. This intensive theoretical work and study together with the machinery of memory exhibited at the Venice Biennale of Aldo Rossi's background to the competition for the Holocaust museum in Berlin where the syntax has now been in the line and the conceptual world of Libeskind will meet a real theme architecture. Above: Holocaust Museum in Berlin (architect Daniel Libeskind) This project could be described as two lines that meet at several points and that could continue to do so countless times. The story of two peoples, Jewish and German, is outlined and trivialized in just two lines: one o'clock zigzagging, straight and impetuous the other, clashing in the contact points that tell "the unspeakable", the drama of ' Holocaust and the line becomes sterminio.La narrative, to tell the drama and fragments of history without a consequential time-definite, but pulled through with all the emotional charge that knows how to move the building through its cracks (real wounds to the skin of zinc Gray and suffering of the sides) and his unstable path and dotted with silent places and inaccessible (metaphor and the extermination of that which can not be told but only lies in its dramatic expression +) L line carrier is another issue being studied by Lebbeus Woods. Lebbeus Woods is compared often to the city in contrast to D. Libeskind, but his work like Piranesi, are free from any kind of restriction of the freedom to proclaim the architectural imagination in a visionary concept. The line of the sketch and use are essential to imagine scenarios of architectural invention and imagination. His "war of cities" urban studies in which images are to rebuild the city devastated by war or catastrophic events such as earthquakes (the reference to history and coming back to the case of Haiti is just one of the last post of Lebbeus these days). Two are the most emblematic cases: Berlin free zones and Terrain 190 The first, after the fall of the wall and the upcoming redevelopment in parts of the devastated city of Berlin, is faced thinking about the system voids and urban ruins of war in mending section buildings and urban spaces through the graft in the rubble of threadlike structures that cross mark with different colors and the various stories related to the disaster.
Terrain 190 is instead a study where the sketches are fragmented and the dynamism of the composition investigate and reflect on the scene of devastation that an earthquake can generate. Returning to Berlin (which seems to be a keystone in the history of our civilization this past century) is to be compared to the state of Israel today where another wall was built in part, to divide the two peoples once again. No more East and West Germany but Palestinians against Israelis. LW feels D. Libeskind belong to the problem as he found himself at the time to tell the drama of the people jew and his own parents (miraculously escaped the Holocaust). The wall game uses the line and the line vortex and Woods broke prematurely to avoid the tragedy of yet another war. Proposes to play with the parts already built the wall (like a ping pong table, the rest of the metaphor of the board game is already served in the climate of détente between China and the U.S. in the past, through sport and the Olympics) with assistance from balancing both sides of the wall and perhaps the fate of that war tension. engineers architects and artists working on both sides (both Palestinians che Israeliani) ma per giocare assieme( metafora della pace) e non contro. Se una delle due parti vincesse sbilancerebbe con il suo peso il muro e ne decreterebbe il collasso strutturale ossia la fine del gioco. Woods al contrario di molti architetti crede che l’architettura abbia il dovere morale di migliorare l’umanità.I suoi lavori e le sue incredibili riflessioni sul mondo contemporaneo sembrano incoraggiare questo atteggiamento sconosciuto agli architetti dello star system odierno. La sua “linea” ed il suo mondo di tratti e spezzate polarizzate quasi si trattasse di vettori orientai nelle molteplici direzioni hanno in se la forza della carica visionaria e della speranza di un miglioramento sociale. Se Daniel Libeskind descrive frammenti di storia and uses the architecture to tell, Woods uses the architecture with a role of ethics by basing his work on a constant political debate, substantial and real, then, for the times we live visionary.
Crile
* 
"The thin white line "is a text in afterhours" Ballads for Little Hyenas " Alessandra Muntoni
, publisher Mancosu
Outlines of the history of contemporary architecture, Alessandra Muntoni, publisher Laterza 
The building Stoclet Josef Hoffmann, Alessandra Muntoni, Bonsignori
Understanding Media, Marshall McLuhan, Net Point, Line, Surface, Wassily Kandinsky, Adelphi
Without Walls: An Interview with Lebbeus Woods
Storia dell'architettura contemporanea 
line now presented 
transmits the force and energy of what has drawn 
Without Walls: An Interview with Lebbeus Woods 
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