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2013, i Quaderni-Urbanistica Tre, Journal of Urban Design and Planning, issue on Urban Representations
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14 pages
1 file
'The ideal city in the city'. This was the claim of the Zunino Real Estate, selling a dream: a passage to a modern life at the outskirts of Milan on a great promenade boulevard. A new cityscape of well-tended green areas and walking avenues, where residents could relax in cafés and mothers with their kids are all around. However, Santa Giulia-Montecity, rather than a model of ideal city, has remained an ideal type, or rather virtual, because today the neighborhood sadly lives only in the project of its famous architect, Norman Foster. Like avatars, the renderings appear from the parallel world of internet to stress a paradoxical reality; virtually created images that become real objects themselves when they are photographed. Surreal representations that mingle with the images taken from the field and become both, imaginaries and imagined projection of the city, the same that appears in the suspended glances of those who 'really' live in Milan Montecity. Far from being just a symbolic opposition, the enclosed social documentary represents an important part of this work, which is about another miserable real estate and financial scandal in the recent history of Milan. See the video here: https://vimeo.com/55980822
The high-rise not only gives a recognizable image to urban space, but also represents a mode of living in the big city. This paper concentrates on the representation of Milan through the high-rise in post-World War II film. Images from films ranging from Ragazze d’oggi (Luigi Zampa. 1955) to Milano Nera (Gian Rocco and Pino Serpi, 1961) and La Notte (Michelangelo Antonioni, 1961) will be discussed. Representation is understood here as a model for living in the city, so that the built goes beyond the strictly material. It is through film that the cultural associations present in the image of the skyscraper can be acted out. These associations are approached as dream-like narratives in which spaces are layered. The new projects over the old, which remains present and at times visible, depending upon the perspective given.
Choice Reviews Online, 2002
This book is a fascinating collection of chapters which partly analyse and partly evoke different periods, spaces and above all images of Milan since the 1950s. It does not fit into a neat academic category or discipline, beyond its being loosely a historical overview of the city. History, in this case, is neither social nor economic or political-nor is it a combinations of these. Rather, the primary focus is cultural, and the leitmotif throughout the book is the transformation of Milan from an industrial city divided primarily into a bourgeoisie occupying the historic centre and a working class, as well as marginalised strata, living in the peripheries, to a post-industrial metropolis dominated by and emblematic of mass consumerism, immaterial goods, and a composite, multi-ethnic population. In this 'new' city, the old fault line between centre and periphery has lost its meaning, to be increasingly replaced by a continuum of urban spaces and urbanised countryside, extending well beyond the city's boundary. The shift is looked at primarily through an analysis of the different images of the city constructed by film-makers, television producers, photographers, designers and politicians. The underlying approach considers a city to be made up of a variety of spaces, interests, symbols, conflicts and lifestyles, where power is unevenly distributed and different social groups and actors produce images which are 'mediated through language, mass media, memory, photographs, films and the environment' (p. 159). As Foot clarifies, such images 'are never fixed and are continually being reformed and deconstructed'; furthermore, they are the product of contested ' physical and moral constructions' (p. 159).
Urban History, 1999
This article examines the changing images of the city of Milan over a period of two decades spanning the 1980s and 1990s. The article considers theoretical debates concerning city images. Milan is then analysed through the various spatial forms which encompass this modern city – political space, populated space, geographic space, urban space and economic space. The next section assesses the changing images of the city through shifting historical phases and crises. Finally the article draws together the fundamental economic and social changes which have marked the deindustrialization and reinvention of Milan.
2019
Practicing a Polycentric (Post) Metropolis' is the eighth booklet published as part of the AESOP Young Academics 'Conversation in Planning Theory and Practice' project whose aim is learning through conversations across generations of planners. This booklet has been conceived as a reflection grounded on the practice of planning in the context of the Milan Urban Region. The dialogue merges the vivid experience of Alessandro Balducci (Politecnico di Milano) with the sharp questions of Mario Paris (Politecnico di Milano) discussing the phenomenology of post-metropolis and the governance of polycentric urbanized territories in Lombardy. The extensive interview that is discussed in this booklet - and the reflections built around it - give the reader many insights concerned with an open and plural planning approach in processes of regional urbanization. This booklet sets aside the task of defining contemporary cities and drawing on recent literature (Ch. 1), the cultural contex...
AEON International Multidisciplinary Conference on Social Sciences and Arts, 2016
In this paper, we problematically question some contemporary trends in architecture and urbanism. We propose an interpretation on the notion of " fake " analyzing some characters of objectification-implementation through specific foreshadowing of urban forms. In an age that reaches a peak in the urbanization of the world's population, some issues become fundamental and architecture and urban planning are called to reflect upon. The now hegemonic theoretical assumptions in these disciplines appear far removed from those whom, in the framework of the technical-rationalist modernism, oriented themselves as mostly "progressive". Critically interpreted, the age of postmodernism registers the domination of the indefinite circulation-of goods and signs-on concrete production entities: an impressive process of abstraction and dematerialization of social relations is accomplished through the ordination/organization of time and space. The aesthetic production is today revealed more integrated in the overall economic and global political strategies. Reduced to a dispute on forms and on an exasperated research of styles, the architecture discourse today seems to fall back on a predominantly aesthetic/hedonist individualism. It is liberated from all social responsibilities and divorced from hypothesis of criticism on the existing context. Furthermore, the collective construction of spaces and events in the urban environment appears to be forgotten. Without any nostalgia for the past, we raise the need to deepen a debate on similar issues. In this direction, we believe that the Debord's definition "spectacular false" still maintains its penetrating effect for a critical reading of the current metropolis. It also provides advance warning on facing a possible post / hyper modernist drift. In the paper, we illustrate the main features of the "Spectacle", intersecting a semiotic reading of architecture, as well as a possible theorization of "post-architecture" (Koolhaas). We also indicate a convergence between "spectacular false" and "Kitsch". These are categories that qualify a widespread attitude to the " fetishization " of some contemporary architecture especially when it is expressed through " architectural objects ". Reporting these critical issues on which the architecture and town planning seem to wrap themselves, it acts as a solicitation to undertake an alternative operating path into the post / hypermodern time.
DIE ERDE - Journal of Geographical Society of Berlin, 2017
Since the 1960s, the majority of Western cities have been discussing sustainable urban development in order to respond to increasing poverty, crime, and unforeseen patterns within our urban environments. Social and economic inequality plus security issues are central themes in this public debate. Moreover, principles of neo-liberalism have led to the constant privatization and economization of social life resulting in private entities in urban contexts playing a pivotal role in the last few decades. This has brought about new and extreme forms of urbanism and developed a new narrative in the urban political discourse. Through the example of Milano 2 (Italy), this paper investigates how an elitist project can establish an alternative conceptualization of 'the urban' and considers its implications on 'the political' and general urban development. Milano 2 operates on the pretense of giving its residents a 'better place to live' which involves a 're-definition' of lifestyle and management organization through governance strategies. In order to assert that Milano 2 represents a 're-definition of urban life', this paper builds up an argument starting from the analysis of public discourse about lifestyle. Furthermore, the paper considers management organization and its governance technologies from a conceptual point of view. By starting to study the sustainable urban development question from the elitist perspective, this paper adds to the discussion by regarding the normalization and acceptance of these urban experiments and it considers how master-planned communities work within the re-definition of lifestyles and management.
Proceedings of the International and Interdisciplinary Conference IMMAGINI? Brixen, Italy, 27–28 November 2017., 2017
This paper is part of the disciplinary framework of drawing. The forms of symbolic representation of Naples are explored, with particular attention being given to the construction of the visual image on an urban scale. The theme of the image represented here lies in the risks of the uncritical use of the image and, above all, of technological innovation when it only affects visual communication operations through the vacant mediatic use of the architectural envelope. The consideration between the aim of the image content and the risk of its (as well as the structure's) spectacularization is the ethical goal of this paper. Firstly, the experiences of street art recently carried out in cities, which, renewed in the aesthetic language, have produced significant images aimed at the recovery of abandoned buildings and/or the socio-cultural renewal of degraded suburbs) are discussed. Secondly, the two project proposals in the field of graphic design, aimed at regenerating the historical and/or social roles of specific urban contexts and building visual images capable of building identity and belonging to the community are also described.
In this article I examine the visual-material performance of urban renewal in Bologna’s cultural district Manifattura delle Arti. Through an evaluation of its physical characteristics and with the aid of personal narrative, I elucidate that the district performs meaning potentials of exclusion and distinction. Not unlike when it was a run-down former industrial area, the district visibly interrupts the cityscape. In doing so, it is now constituted as an enclave for the global(ist) communication of Bologna. Rather than being an organically integrated or politically disruptive presence, this urban enclave ultimately contributes to the deepening of inequalities that are typical of advanced capitalism.
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