Ro­vi­ne con­tem­po­ra­nee

Con­tem­po­ra­ry Ruins

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“Le ro­vi­ne del con­tem­po­ra­neo han­no in sé qual­co­sa di su­bli­me, te­ne­ro e ag­ghiac­cian­te al­lo stes­so tem­po [...] par­la­no la no­stra stes­sa lin­gua. Sia­mo par­te del­la stes­sa sto­ria, per­ché sia­mo nel­la stes­sa pa­gi­na del­la Sto­ria”. Ar­chi­flop. Sto­rie di pro­get­ti fi­ni­ti ma­le ri­ca­ta­lo­ga eco­mo­stri, abu­si edi­li­zi, edi­fi­ci in­com­piu­ti e cit­tà fan­ta­sma sot­to la vo­ce fal­li­men­ti ar­chi­tet­to­ni­ci, e ne in­di­vi­dua 25 spar­si in tut­to il mon­do, di ogni ge­ne­re e spe­cie. Da Gi­bel­li­na Nuo­va in Si­ci­lia (cit­tà di­sa­bi­ta­ta, ma pun­teg­gia­ta da ope­re d’ar­te) al­la me­tro­po­li­ta­na Châ­te­let a Char­le­roi in Bel­gio, mai inau­gu­ra­ta, al­la Tor­re Da­vid di Ca­ra­cas, grat­ta­cie­lo in­com­piu­to tra­sfor­ma­to in una ba­rac­co­po­li ver­ti­ca­le, vin­ci­tri­ce del Leo­ne d’Oro al­la Bien­na­le di Ve­ne­zia del 2012 co­me mi­glior pro­get­to rap­pre­sen­tan­te il te­ma del Com­mon Ground. L’au­to­re va al­le radici del pro­ble­ma, in­di­vi­duan­do quat­tro ragioni sot­te­se al­la crea­zio­ne del­le ro­vi­ne con­tem­po­ra­nee, con le qua­li strut­tu­ra la nar­ra­zio­ne: pre­vi­sio­ni ot­ti­mi­sti­che ri­spet­to agli uten­ti fi­na­li del pro­get­to, fat­to­ri di na­tu­ra eco­no­mi­ca, im­pat­to este­ti­co e luo­ghi di in­trat­te­ni­men­to che han­no per­so at­trat­ti­vi­tà. In chiu­su­ra, un ca­pi­to­lo è de­di­ca­to al pro­get­to di un nuo­vo sce­na­rio ur­ba­no, con il ca­so del­la Tor­re Gal­fa a Milano, af­fi­da­to al­la fan­ta­sia de­gli stu­den­ti del Po­li­tec­ni­co. (CM) “The ruins of the con­tem­po­ra­ry world ha­ve so­me­thing about them that is su­bli­me, ten­der and spi­ne-chil­ling at the sa­me ti­me [...] they speak the sa­me lan­gua­ge as we do. We are part of the sa­me sto­ry, be­cau­se we are on the sa­me pa­ge of hi­sto­ry”. Ar­chi­flop. Sto­ries About Pro­jec­ts that En­ded Bad­ly pre­sen­ts a se­ries of un­fi­ni­shed buil­dings, gho­st to­wns, blo­ts on the land­sca­pe that form a ca­ta­lo­gue of 25 ar­chi­tec­tu­ral fai­lu­res of va­rious kinds from around the world. They ran­ge from Gi­bel­li­na Nuo­va in Si­ci­ly (an uni­n­ha­bi­ted to­wn dot­ted wi­th works of art) to the Châ­te­let bran­ch of the Char­le­roi me­tro in Bel­gium that ne­ver ope­ned and the To­wer of Da­vid in Ca­ra­cas, a half-built sky­scra­per that has be­co­me a hi­gh-ri­se squat and won the Gol­den Lion at the 2012 Ve­ni­ce Bien­na­le as the mo­st re­pre­sen­ta­ti­ve exam­ple of the the­me of Com­mon Ground. The au­thor iden­ti­fies four rea­sons why con­tem­po­ra­ry ruins co­me about, and uses the­se as the ba­sis for the nar­ra­ti­ve: over-op­ti­mi­stic fo­re­casts as to the num­bers of peo­ple who would use the struc­tu­re, fac­tors of an eco­no­mic na­tu­re, ae­sthe­tic im­pact and pla­ces of en­ter­tain­ment that ha­ve lo­st their ap­peal. At the end of the book is a chap­ter de­vo­ted to the pro­ject for a new ur­ban sce­na­rio, fea­tu­ring the ca­se of the Gal­fa sky­scra­per in Mi­lan, whi­ch has been en­tru­sted to the ima­gi­na­tion of stu­den­ts at Po­li­tec­ni­co di Milano

Cy­cle & Re­cy­cle Ha­t­je Can­tz, 2016 pp. 176 pp, ill. 101, € 45 www.ha­t­je­can­

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