The exhibition LACUNA/AE at Torre Massimiliana from May 28 to August 28, 2016 documents through over 100 photographs the modern residential architecture and former industrial areas of Venice from the 1950s-1980s. These areas were redeveloped by famous Italian architects after industry declined and now provide housing, though they remain largely unknown to tourists. The exhibition aims to tell this overlooked part of Venice's history and show how photography can deepen understanding of places.
Aldo Rossi was an Italian architect and designer who achieved international recognition in four distinct areas: architectural theory, drawing and design, and also product design.
Conrad Pickel Stained Glass Artist presentation May 24Janet Naughton
This presentation was created for a program at the Boynton Beach City Library. Prior to the presentation, attendees took a narrated bus tour to local sites featuring the stained glass artwork of Conrad Pickel.
Aldo Rossi was an Italian architect and designer who achieved international recognition in four distinct areas: architectural theory, drawing and design, and also product design.
Conrad Pickel Stained Glass Artist presentation May 24Janet Naughton
This presentation was created for a program at the Boynton Beach City Library. Prior to the presentation, attendees took a narrated bus tour to local sites featuring the stained glass artwork of Conrad Pickel.
In this class we discuss the works of Mexican modernist Luis Barragán. We also compare his chapel for the Capuchinas Sacramentarias with Le Corbusier's Ronchamp (1954) and Peter Zumthor's Bruder Klaus Chapel (2007).
This is a short representation of important factors in analyzing architecture basically the last section of Simon Unwin's Analysing Architecture. For any sort of query and help DM on Instagram handle zenith.gomez.96. Thank You!
This is the English version of the presentation prepared for the "Black & White Architecture in Oscar Savio's Pictures" exhibition, scheduled at MACRO Museum between January 22 and April 05, 2010. The exhibition is based on pictures chosen from CRDAV's Photo-archive.
In this class we discuss the works of Mexican modernist Luis Barragán. We also compare his chapel for the Capuchinas Sacramentarias with Le Corbusier's Ronchamp (1954) and Peter Zumthor's Bruder Klaus Chapel (2007).
This is a short representation of important factors in analyzing architecture basically the last section of Simon Unwin's Analysing Architecture. For any sort of query and help DM on Instagram handle zenith.gomez.96. Thank You!
This is the English version of the presentation prepared for the "Black & White Architecture in Oscar Savio's Pictures" exhibition, scheduled at MACRO Museum between January 22 and April 05, 2010. The exhibition is based on pictures chosen from CRDAV's Photo-archive.
We looked at the combined Twitter audiences of Donald Trump and Hillary Clinton. Using Affinio, the audience was segmented into interest-based communities. This presentation shows which Presidential candidate is winning in key audience segments.
Castelvecchio Museum (Italian: Museo Civico di Castelvecchio) is a museum in Verona, northern Italy, located in the eponymous medieval castle. Restoration by the architect Carlo Scarpa, between 1959 and 1973, has enhanced the appearance of the building and exhibits. Scarpa's unique architectural style is visible in the details for doorways, staircases, furnishings, and even fixtures designed to hold a specific piece of artwork.
The museum displays a collection of sculpture, statues, paintings, ancient weapons, ceramics, goldworks, miniatures and some old bells.
University of California Press and Society of Architectural H.docxgertrudebellgrove
University of California Press and Society of Architectural Historians are collaborating with JSTOR to digitize, preserve
and extend access to Journal of the Society of Architectural Historians.
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Space and Movement in High Baroque City Planning
Author(s): Paul Zucker
Source: Journal of the Society of Architectural Historians, Vol. 14, No. 1 (Mar., 1955), pp. 8-13
Published by: on behalf of the University of California Press Society of Architectural
Historians
Stable URL: http://www.jstor.org/stable/987716
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SPACE AND MOVEMENT IN
HIGH BAROQUE CITY PLANNING
PAUL ZUCKER
DRAMATIZATION and the suggestion of movement have been
generally accepted as characteristics of the Baroque style
since the publication of Heinrich W6lfflin's Renaissance
and Baroque half a century ago. Numerous authors have
developed this concept further and applied it to painting,
sculpture, and architecture as against the more static con-
cinnitas of the Renaissance.
The space concept of Baroque city planning as it appears
in the shape of Baroque squares, for example, may be com-
pared but not identified with the concept of space in a
painting by Rubens, in a sculpture group by Bernini, or
in the interior of a Baroque church.
The specific spatial elements which characterize Baroque
city planning have hardly been analyzed. Some authors 1
have touched these problems, but even Lavedan in his
comprehensive History of City Planning is as little inter-
ested in them as were Sitte and Unwin.2 This lack of inter-
est might be explained by the impress left by the great
French classicist tradition of the places royales as the
epitome of city planning all over Europe in the 17th and
18th centuries. Hence the other expression of the Baroque
style, the Berninesque trend, receded in the writers' con-
ception of the 17th and 18th centuries.
The meaning of the term Baroque is twofold. H ...
University of California Press and Society of Architectural Htroutmanboris
University of California Press and Society of Architectural Historians are collaborating with JSTOR to digitize, preserve
and extend access to Journal of the Society of Architectural Historians.
http://www.jstor.org
Space and Movement in High Baroque City Planning
Author(s): Paul Zucker
Source: Journal of the Society of Architectural Historians, Vol. 14, No. 1 (Mar., 1955), pp. 8-13
Published by: on behalf of the University of California Press Society of Architectural
Historians
Stable URL: http://www.jstor.org/stable/987716
Accessed: 15-06-2015 20:07 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact [email protected]
This content downloaded from 204.168.144.64 on Mon, 15 Jun 2015 20:07:16 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org
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http://www.jstor.org/action/showPublisher?publisherCode=sah
http://www.jstor.org/action/showPublisher?publisherCode=sah
http://www.jstor.org/stable/987716
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/page/info/about/policies/terms.jsp
SPACE AND MOVEMENT IN
HIGH BAROQUE CITY PLANNING
PAUL ZUCKER
DRAMATIZATION and the suggestion of movement have been
generally accepted as characteristics of the Baroque style
since the publication of Heinrich W6lfflin's Renaissance
and Baroque half a century ago. Numerous authors have
developed this concept further and applied it to painting,
sculpture, and architecture as against the more static con-
cinnitas of the Renaissance.
The space concept of Baroque city planning as it appears
in the shape of Baroque squares, for example, may be com-
pared but not identified with the concept of space in a
painting by Rubens, in a sculpture group by Bernini, or
in the interior of a Baroque church.
The specific spatial elements which characterize Baroque
city planning have hardly been analyzed. Some authors 1
have touched these problems, but even Lavedan in his
comprehensive History of City Planning is as little inter-
ested in them as were Sitte and Unwin.2 This lack of inter-
est might be explained by the impress left by the great
French classicist tradition of the places royales as the
epitome of city planning all over Europe in the 17th and
18th centuries. Hence the other expression of the Baroque
style, the Berninesque trend, receded in the writers' con-
ception of the 17th and 18th centuries.
The meaning of the term Baroque is twofold. H ...
The Art Enthusiast’s Guide to Touring ItalyTour Italy Now
It’s pretty common knowledge that Italy is one of the world’s top travel destinations from an art appreciation perspective. This entire country is virtually an open air art museum:ancient ruins, natural beauty, stunning architecture and icons of Christendom pop up everywhere you look. If you’re looking to soak up history, culture and art all in one place, look no further than this amazing Southern European nation.
Training documents for the participants cours IST Comenius Grundtvig Europe between Mythology Modernity e Multiculturalism.
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Guerzoni - An Urban Regeneration Project in Venice-MestreOECD CFE
This year the Forum will focus on creativity, jobs and local development. We will examine how localities can support culture and creative industries as a source of knowledge and job creation and how the creative industry can act as a powerful driving force areas such as tourism, urban regeneration, and social inclusion.
1. LACUNA/AE
Identity and Modern Architecture in Venice
May 28 – August 28, 2016
Torre Massimiliana, Sant’Erasmo Island
From May 28th to August 28th 2016 the Istituzione Parco della Laguna hosts the photography exhibition
LACUNA/AE. Identity and Modern Architecture in Venice at the Torre Massimiliana, a former military
fortress recently restored, located on theisland of Sant’Erasmo, located tothe north ofVenice. Theexhibition
is ideated by Eleonora Milner and is curated by Elena Caslini and Eleonora Milner, in collaboration with the
Archivio della Comunicazione del Comune di Venezia and with the support of the Associazione Culturale
Lavanderia Young.
Over 100 photographs by seventeen Italian photographers document former industrial areas of Venice
redeveloped into residential complexes in the second half of the 20th
Century and nearby areas, which were
built at the same time.
The exhibition talks about the architecture and the identity of these areas of Venice, which still remain out
of the typical tourists routes and are almost unknown to most people. Indeed, only few know that, between
the 19th
and the 20th
centuries, Venice hosted big industrial complexes, which were definitely closed during
the 1950s, after the construction and the economic success of Porto Marghera and the Petrolchimico.
About thirty years later, due to the initiative of public authorities and local committees, some of the most
famous Italian architects were called to redevelop the abandoned industrial sites into public housing.
Furthermore, new residential areas were built to satisfy the growing need for new functional housing.
“We aim at visually telling a missing partofVenice’s history and showing how photography can be an efficient
tool to get to know reality and understand its places, spaces and people” say the curators. How today’s
inhabitants, about thirty years later, live these examples of public residential architecture? Are these areas
integrated into the urban pattern of the city or do they inevitably stay out of it? These are some of the
questions at the core of the exhibition, which does not only document architectural changes, but also
wonders how they affected the definition of places’ and people’ s identity.
Although each photography campaign maintains its own distinctive style, all the authors approach
photography as a cultural practice to examine the territory, as it helps to perceive, see, and (re)live the
contemporary space and to link different signs scattered in the landscape.
The photographic medium is conceived as a tool to know reality. However, it does not want to give definitive
answers, but offers causes for reflection in order to open an almost forgotten chapter of Venetian history.
2. THE EXHIBITION PATH
The 11 room exhibition path is conceived as a journey into Venice former industrial areas and the residential
areas built ex novo right out the borders of the city centre. On the first floor, after the introductory room,
rooms 2 and 3 are dedicated to the Giudecca island, one of the most important industrial areas in Venice at
the end of the XIX century. On this island are located the Ex area Trevisan, a wood factory converted into an
IACP residential complex by architect Gino Valle, and the Ex area Junghans, a former watch factory which
today hosts the Veneta Theatre Academy, a college residence, a cafè and some houses. Rooms 4 and 5 are
dedicated to two new areas, respectively Sacca Fisola, an artificial island built to the west of the Giudecca to
satisfy the need of cheap housing in Venice, and the Murano Area Angeli, a former fallow area where, during
the 1970s, a series of public housing were built, among which those designed by architect Carlo Righetti are
the most famous.
The exhibition path continues on the second floor with a series of photographs documenting the Mazzorbo
Island (room 6), a rural area to the north of Venice, which saw the construction of a new residential IACP
area designed by architect Giancarlo deCarlo. The Ex area S.A.F.F.A in Cannaregio is the protagonist of room
7: nothing remains of the ancient match factory, if not its smokestack, which sticks out the houses built by
architect Vittorio Gregotti in the 1980s. The path continues in room 8 with Sacca san Girolamo, best known
as Baia del Re, a former rough area located to the north-west of Cannaregio, which was redeveloped during
the 1980s through the construction of a new residential neighbourhood designed by architect Franco
Bortoluzzi. Room 9 is then dedicated to the Villaggio Laguna, a new district built in Campalto, in the so-called
gronda lagunare.
The exhibition ends with two rooms dedicated to two examples of unique types ofarchitecture. The Camping
Fusina (room 10), located next to the Porto Marghera Industrial pole, was renovated by famous Venetian
architect Carlo Scarpa during the 1950s. It is a peculiar example of a celebrated architect who worked on an
architecture typology, that of the camping, traditionally considered less noble than others due to its
ephemeral structures. The photographs of the Lido Liberty (room 11) show how, simultaneously with the
birth of the great industrial sites of the end of the 19th century, new forms of modern architecture were
experimented on the Lido, characterized by the elegant refinement typical of the fin de siècle art nouveau.
Along the exhibition path, in room 5, you can find a section that talks about former industrial Venice
throughout a series of illustrations, specifically designed for the exhibition. Seven Italian illustrators have
been designated to interpret and illustrate the aforementioned areas, in order to show, together with the
photographs, a different side of Venice and to demonstrate how it is possible to go beyond the consolidated
and stereotyped idea of a post card-Venice.
3. You can download the exhibition press kit and the press images at the following link: http://bit.ly/lacunae
LACUNA/AE. Identity and Modern Architecture in Venezia
Torre Massimiliana
Via de le Motte 104, Isola di Sant’Erasmo, Venice
May 28 – August 28, 2016
www.lacunaeproject.com
OPENING HOURS
Wed – Thu – Fri: 3pm – 7 pm
Sat – Sun: 11 am – 7 pm
SOCIAL MEDIA
Facebook: https://www.facebook.com/LACUNAE-989976934422311/?ref=ts&fref=ts
Instagram: https://www.instagram.com/lacunaeproject/
Official hashtag: #lacunae
PRESS OFFICE
Elena Caslini
lacunavenezia@gmail.com