We are used to think cities, for the reason that they are built, mostly through their physical appearance: shapes, colors, materials, volumes. Pushed by the irrefutability of this foundational pillar we are likely to underestimate the multiplicity of meanings linked to the urban forms. We associate different and personal relations of values and senses, according to the referring variable. Besides personal visions, meanings are influenced as well by factors such as geography, history, culture, religion, etc. To any form we can associate a personal interpretation, just like through an evolving culture we reassign new meanings to the same forms. The contemporary way of approaching a culture is epidermic and totaling, as it was well pointed out at the last Venice Biennale: we can experience cities through a huge mass of data, maps, statistics; in short, we can paint a very detailed quantity-based picture. But all this tells us almost nothing about the cultural space that pervades cities, since cities are build also on stories and myths. Should contemporary culture translate again those myths and meanings in a new language? Stories and myths of a city do not reveal themselves, they are written on the skin of the city just like the lines on a hand. Therefore (but not obviously) the answer is no: since the end of determinism we know that reality isn’t made out of basic particles (i.e. bricks, for instance) but it’s pretty much closer to a linked network of complex and stratified relations. The students and bachelor projects we followed as teachers do not intend to make a new start through symbols, imposing a point of view; they try to design the activators of new dynamic relations networks between spaces and identities that live the city. We do not need an architecture that speaks for everyone, but one that everyone is free to live and play.

Tuzla: radici culturali e ragioni di un progetto

ERIOLI, ALESSIO
2007

Abstract

We are used to think cities, for the reason that they are built, mostly through their physical appearance: shapes, colors, materials, volumes. Pushed by the irrefutability of this foundational pillar we are likely to underestimate the multiplicity of meanings linked to the urban forms. We associate different and personal relations of values and senses, according to the referring variable. Besides personal visions, meanings are influenced as well by factors such as geography, history, culture, religion, etc. To any form we can associate a personal interpretation, just like through an evolving culture we reassign new meanings to the same forms. The contemporary way of approaching a culture is epidermic and totaling, as it was well pointed out at the last Venice Biennale: we can experience cities through a huge mass of data, maps, statistics; in short, we can paint a very detailed quantity-based picture. But all this tells us almost nothing about the cultural space that pervades cities, since cities are build also on stories and myths. Should contemporary culture translate again those myths and meanings in a new language? Stories and myths of a city do not reveal themselves, they are written on the skin of the city just like the lines on a hand. Therefore (but not obviously) the answer is no: since the end of determinism we know that reality isn’t made out of basic particles (i.e. bricks, for instance) but it’s pretty much closer to a linked network of complex and stratified relations. The students and bachelor projects we followed as teachers do not intend to make a new start through symbols, imposing a point of view; they try to design the activators of new dynamic relations networks between spaces and identities that live the city. We do not need an architecture that speaks for everyone, but one that everyone is free to live and play.
now planning in: Tuzla
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11585/52013
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