Trecentocinquant'anni di sharawaggi: fenomenologia del pittoresco nel paesagg...Davide Tommaso Ferrando
350 Years of Sharawaggi: on the phenomenology of the picturesque in the urban landscape.
Lecture given as part of the Urban Landscape Design Unit (02ODRPZ) of the Master in Green Areas And Landscape Design, Politecnico di Torino.
Un punto di vista “tendenzioso” da architetto:
un tentativo di navigare tra le faticose interperie della cultura architettonica contemporanea, un racconto e uno sguardo su un passato recente, visti come le origini dei tempi odierni.
Trecentocinquant'anni di sharawaggi: fenomenologia del pittoresco nel paesagg...Davide Tommaso Ferrando
350 Years of Sharawaggi: on the phenomenology of the picturesque in the urban landscape.
Lecture given as part of the Urban Landscape Design Unit (02ODRPZ) of the Master in Green Areas And Landscape Design, Politecnico di Torino.
Un punto di vista “tendenzioso” da architetto:
un tentativo di navigare tra le faticose interperie della cultura architettonica contemporanea, un racconto e uno sguardo su un passato recente, visti come le origini dei tempi odierni.
Praticare un segno pittorico slegandolo dalla comune fisicità materica, portarlo in un altrove, un mondo nuovo e inesplorato. #immateriale arte del "Quadro Liquido".
Master degree thesis presentation by Serena Previtali
Polytechnic of Milan, design Faculty. 2007
ROVINE CONTEMPORANEE, FOTOGRAFIA E CINEMA COME RAPPRESENTAZIONE DELLE REALTÀ POSTINDUSTRIALI
ebook del progetto Carbon Footprint, attraverso le arti digitali finanziato dal Miur e realizzato dalla Fondazione Mondo Digitale in collaborazione lo Sapienza Università di Roma in occasione del Media Art Festival 2017
Praticare un segno pittorico slegandolo dalla comune fisicità materica, portarlo in un altrove, un mondo nuovo e inesplorato. #immateriale arte del "Quadro Liquido".
Master degree thesis presentation by Serena Previtali
Polytechnic of Milan, design Faculty. 2007
ROVINE CONTEMPORANEE, FOTOGRAFIA E CINEMA COME RAPPRESENTAZIONE DELLE REALTÀ POSTINDUSTRIALI
ebook del progetto Carbon Footprint, attraverso le arti digitali finanziato dal Miur e realizzato dalla Fondazione Mondo Digitale in collaborazione lo Sapienza Università di Roma in occasione del Media Art Festival 2017
Le avanguardie storiche, istituto stringher, udine, elio varuttiElio Varutti
LE AVANGUARDIE STORICHE Inizio '900 - I Guerra Mondiale, tra Storia e Storia dell’Arte. Elaborato del Laboratorio di Storia dell'istituto Stringher di Udine. Progetto "Il Secolo breve in Friuli Venezia Giulia", cofinanziato dalla Fondazione CRUP. Classe 5^ D Turistico, 5^ A Alberghiero, 5^ C Turistico, anno scolastico 2013-2014. Dirigente scolastico: Anna Maria Zilli. Coordinamento didattico: professoresse Paola Carboni (Italiano e Storia), Paola Chiopris (Storia dell’Arte) e Adriana Odorico (Tecniche di Comunicazione e Relazione). Networking: prof. Elio Varutti, Economia e Tecnica dell’Azienda Turistica.
Anonime Icone è una mostra multimediale avente come oggetto il design anonimo, presso il Museo Nazionale di arti e tradizioni popolari. Il fine di questa mostra è quello di valorizzare e dare importanza ad oggetti che altrimenti passerebbero inosservati.
How is architecture criticism adapting to the dramatic transformation of its communication space? After ten years of investigation on the topic, I summarize some of my findings and open up some prospectives for the survival of an endangered discoursive practice .
Una serie di osservazioni a proposito del regionalismo critico, e in particolare, della necessità di rivedere e aggiornare alcuni elementi della sua impalcatura concettuale, alla luce delle mutate condizioni che caratterizzano la cultura contemporanea.
The topic of this presentation is a particular case among the different kinds of relationships that digital technology etablishes with architectural culture today. More precisely, I will discuss the concept of “post-digital” architecture, which is a concept that has been quite widely debated in the last few years, particularly in relation to architectural practices that recur to techniques of representation privileging 2d image-editing tools such as Photoshop and Illustrator, instead of using advanced 3D modelling and rendering tools. In a nutshell, what I want to discuss is the kind of architectural image, and therefore the kind of architecture, that emerges from a post-digital approach to representation.
A partial state of the art of a research project that is currently underway and that I started to address during my PhD years, when I decided to explore the possible intersections between the new communication technologies that emerged in previous years, social networks in essence, and architectural culture.
A first attempt to investigate the spatial effects of the encounter between the video gaming industry and live streaming, starting from the early 2000s.
The lecture unfolds the stories behind the first two editions of the Unfolding Pavilion: an exhibition and editorial project founded by Daniel Tudor Munteanu and Davide Tommaso Ferrando that pops up at major architecture events in previously inaccessible but architecturally significant buildings.
A dive into theories and buildings belonging to the early history of modern architecture, aimed at putting them in relation with an emerging culture of the surface in western society, which anticipates phenomena more famously observed and theoreticized in the late 1960s by Venturi & Scott Brown.
A collection of thoughts about the influence that Internet and social media are exercising on architectural theory and practice, accompanied by some suggestions about how architects should react to it.
A series of arguments about the possibility (and convenience) to approach architecture theory as a form of storytelling, and as a consequence, architecture as a collection of narratives.
Lecture given for the first time in Trento in the occasion of the opening of the exhibition "Drawn Theories": June 20, 2018. The lecture explores the phenomenon of "Post-Digital" architecture drawings, giving it a brief historical context and recurring to case studies taken from the generation of Italian architects who were born in the 1980s.
Asked "what is architecture?" I'd rather answer to the question "what are the architectures I like". This lecture sums up some of my main research lines regarding contemporary architecture (some missing, though), putting them in a narrative order that allows me to speculate on the current conditions of the discipline.
Lecture about urban design and architecture practices in contemporary China, specifically observed from the point of view of housing speculation and the real estate market.
Lecture on independent architecture editing on social media, given as part of the "Clip Stamp Upload | Editoria Indipendente di Architettura" conference held November 20th, 2015 in Genova.
Lecture dedicated to the (complicated) relation between architecture criticism and social media, given as part of a one-day convention belonging to the program of the Padiglione Architettura curated by Lorenzo Degli Esposti for the Expo 2015 Belle Arti.
7000 likes, 70 followers. Architecture or social networks
Lecture given as part of the Máster en Proyectos Arquitectónicos Avanzados, Escuela Técnica Superior de Arquitectura de Madrid
Pixel landscapes: urban image as collage
Lecture given as part of the Urban Landscape Design Unit (02ODRPZ) of the Master in Green Areas And Landscape Design, Politecnico di Torino.
36. One of the panels of Abi Warburg's Atlas Mnemosyne
37. ROME ARCHITECTURE RE-MIX # 5
Nel disegnare architetture sarebbe bello avere anche altre
origini, altre informazioni: sarebbe bello avere altri cataloghi.
(Ettore Sottsass)
Per questo muovendomi per la città cerco di comporre un
catalogo da assemblare di volta in volta, sono appunti, idee
possibilità. Gli assemblaggi sono astratte figure senza sfondo,
servono per digerire il costruito. Creano un immaginario che
vuole annullare l'autonomia dell'immagine. L'immaginazione
crea concatenazioni semiotiche che non corrispondono alla
combinatoria esistente dell'immagine.
38. LA CARTA E IL TERRITORIO # 1
The map
Emptied of meaning, distorted, reconstructed, revealed as a
human artifact is the subject of an interpretation.
39.
40. ON PROJECTS # 76
Each item, no matter their origin can be used to create new
combinations. Everyone can serve. There is no need to say
that you can only correct a work or integrating different
fragments of old works in a new: you can also alter the
direction of these fragments and change their meaning as you
want of what the fools insist calling quotes.
(Guy Debord, Mode d'emploi du detournèment, Paris 1956)
41. ON MOVIES # 1
Ogni film che ci è piaciuto trova posto un giorno nella nostra
memoria accanto ad altri ricordi. Diventa un ricordo tra tanti,
anche lui minacciato dall'oblio, dall'erosione della memoria.
Accade così che nelle immagini di film rimangono qua e là
nella testa come ricordi personali, come se facessero parte
della nostra vita. Dobbiamo fare il montaggio dei nostri ricordi,
il girato della memoria, per ricreare una continuità, per farne
un racconto.
(Marc Augé)
42. MOON # 1
These are new releases of collage made in 1993 during my
Masters at the International Space University, the techniques
have changed. The colors are the only difference from the
original the contents have not changed.
What has always fascinated me in extreme conditions
architecture is the idea of being able to use architecture as a
symbol that can represent the human condition without
following the technique.
The series reflect on the meaning of architecture without
useless superstructures. From now till the next weeks a series
of images, a visual index of a spatial architecture essay.
43.
44.
45. ON PROJECTS # 1
On projects are a series of concept images developed over
the years in relation to different architectural projects, those
images do not reproduce the final project, instead they try to
define an idea around where the architecture itself is defined
trough the time of design. They are simply working models.