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Rivista: VEDUTE N° 0
di , 2009
Autore: Michele Costanzo
Architettura, come infiniti altri termini della nostra lingua, quali: arte, musica, letteratura, poesia ed altri ancora, relativi ad attività creative o di ricerca epistemologica, può rispondere ad una molteplicità di significati astratti o concreti, di intenzionalità espressive/comunicative e di realtà dagli aspetti multiformi. E' un sostantivo che può assumere anche un significato specifico se a... segue >>
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Rivista: compasses N° 6
di , 2009
Autore: Michele Costanzo
The Hamburg Philharmonic Hall, designed by Herzog & de Meuron and currently under construction, is perhaps the most important element of a vast urban redevelopment programme that includes the renovation of HafenCity, an extensive 157-hectare neighbourhood along the port, not far from the city centre, whose density is to be increased by some 40%. This transformation is focused on introducing a rang... segue >>
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Rivista: compasses N° 6
di , 2009
Autore: Michele Costanzo
MVRDV (Winy Maas, Jacob van Rijs and Nathalie de Vries) are amongst the protagonists of the “enormous change that took place in the 1990s” that, in the words of Bart Lootsma, “pushed Holland into a Second Modernism”. The research of this internationally recognised group research sets itself apart for the interest generated by its proposals and the imaginative and innovative spirit that pervades th... segue >>
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Rivista: compasses N° 5
di marzo-aprile, 2009
Autore: Michele Costanzo
The distinctive aspect of Bernard Tschumi’s personality is that of operating simultaneously in the field of theory and design. His numerous theoretical texts, of which we can mention here Manhattan Transcripts (1978) and Architecture and Disjunction (1998), alternate with other works, such as the three volume Event-Cities (published respectively in 1998, 2000 and 2004). In the latter he analyses ... segue >>
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Rivista: AD N° 1
di Jan/Feb , 2009
Autore: Michele Costanzo
Michele Costanzo interviews Bernard Tschumi about his work and his vision of the changing field of contemporary design research. How do the younger generation of students receive Tschumi’s seminal theoretical works? Is a lack of time merely the current scapegoat for a more considered conceptual approach? How does he view the proliferation of architectural fetishes in the urban landscape? How is hi... segue >>