The current urban scenario is imaginable as a continuous construction site in which both the contemporaneity of the construction and the historical time of destruction coexist in a simultaneous and conflicting manner; the ruins of yesterday but mainly the debris of today are no longer exceptional episodes in the urban fabric but are now the recognizable and structuring features of the city: on one side there is a whole series of unfinished and abandoned fragments, that is the waste of the city that is built (or tries to do so), while on the other hand there is the historical ruin of the city identified in archaeological sites, in the ruins of historical monuments or in the buildings of Late Modern Period. In this contests it is still necessary the distinction formulated by Francesco Dal Co among the restorers, only guardians of the knowledge of some techniques able to scientifically solve the conflicts that every intervention of recovery involves, and ‘creative’ architects?. Observing the other artistic disciplines, music for example, it is easy to realize how in the reinterpretation of a preexistent song, the remix, the shape and the ‘aura’ of the original can be modified with growing level of alteration that, progressively, raises critics on the identification of the work and its authoriality. This sort of operation, just like many other actions belonging to other cultural environments in which elements coming from different sources blend together, where the new coexists with the ancient, forms a kind of tie, a cultural glue, a virus, that informs and supports contemporary culture.

Compose with the fragments.

ludovico romagni
2019

Abstract

The current urban scenario is imaginable as a continuous construction site in which both the contemporaneity of the construction and the historical time of destruction coexist in a simultaneous and conflicting manner; the ruins of yesterday but mainly the debris of today are no longer exceptional episodes in the urban fabric but are now the recognizable and structuring features of the city: on one side there is a whole series of unfinished and abandoned fragments, that is the waste of the city that is built (or tries to do so), while on the other hand there is the historical ruin of the city identified in archaeological sites, in the ruins of historical monuments or in the buildings of Late Modern Period. In this contests it is still necessary the distinction formulated by Francesco Dal Co among the restorers, only guardians of the knowledge of some techniques able to scientifically solve the conflicts that every intervention of recovery involves, and ‘creative’ architects?. Observing the other artistic disciplines, music for example, it is easy to realize how in the reinterpretation of a preexistent song, the remix, the shape and the ‘aura’ of the original can be modified with growing level of alteration that, progressively, raises critics on the identification of the work and its authoriality. This sort of operation, just like many other actions belonging to other cultural environments in which elements coming from different sources blend together, where the new coexists with the ancient, forms a kind of tie, a cultural glue, a virus, that informs and supports contemporary culture.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11581/431577
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