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1

“Homage to Catalonia”1: A glance to Barcelona architecture through the Milanese architectural magazines of the ’50s-‘60s

Lucchini M., Urban G. J. Y.

Przestrzeń i Forma

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2018

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nr 35

9--24

EN

The mutual exchange between Barcelona and Milan since the ‘50s and the ‘80s analyzed by the standpoint of the dissemination of the culture supported by the media popular at those time that means the magazines. The interrelation between the two cities by one hand was a way to escape from the suffocating control of the Francoist dictatorship. By hte otherside was to disseminate the School of Milan conception of modernsim, far from the myth of the technology and clser to context and a critical view of the history.

2

The metaphor: images and shapes in architecture

Lucchini M.

Zeszyty Naukowe Politechniki Poznańskiej. Architektura i Urbanistyka

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2010

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Z. 22

95-110

EN

Context is not only the physical reality that sorrounds us but also the atmosphere which is able to evoke emotions giving us an aesthetic pleasure. Metaphor is atool that make this atmosphere cognizable in a rational way. An Architecture can reach a metaphoric significance as it allows a multiplicity of iconic information to fix clearly in the mind of a the individual through few invariant elements, associating the artefact to an idea of architecture which is already known by the individual itself. We colud recognize three metaphoric type: -Metaphor, through operation of substitution modifies the "distance" between a shape and what it represents, providing architecture with a chance to be "other" from technical-functional needs. -Architecture represents an iconological theme which is estranged from the functional program and introduces contaminations with other iconic realities. The context is an iconological theme. -Architecture as a metaphor of one's own building act. Architecture as a metaphor of environmental, physical or temporal conditions.

PL

Kontekst jest nie tylko otaczającą nas fizyczną rzeczywistością, lecz także „atmosferą", wzbudzającą emocje, które sprawiają nam estetyczną przyjemność. Metafora jest narzędziem, które pozwala odnieść się do „atmosfery" w racjonalny sposób. Architektura może osiągnąć metaforyczne znaczenie, ponieważ umożliwia dokładne utrwalenie w pamięci ! wielu ikonicznych informacji. Jest to możliwe dzięki niezmiennym elementom, kojarzącym artefakt z koncepcją architektury, znanej już odbiorcy. Możemy wyróżnić trzy typy metaforyczne. Są to: -Metafora - przez operację podstawienia zmienia „odległość" między formą a tym, co ta forma reprezentuje. Jednocześnie umożliwia architekturze stanie się czymś więcej niż tylko zaspokojeniem potrzeb techniczno-funkcjonalnych. -Architektura stanowi temat ikonologiczny, odseparowany od programu funkcjonalnego. Wprowadza „zanieczyszczenia" pochodzące z innych rzeczywistości kultowych. Kon-, tekst również jest tematem ikonologicznym. -Architektura jako metafora aktu budowania - architektura jako metafora warunków środowiskowych, fizycznych lub czasowych.

3

Manifold identity permanencies, variations, types and characters within Sardinia's modern and contemporary architecture

Lucchini M.

Zeszyty Naukowe Politechniki Poznańskiej. Architektura i Urbanistyka

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2009

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Z. 19

13-23

EN

In the present cultural outline the fundamentals and the paradigms concerning the architectural design are in condition of crisis; the discussion about architecture is reduced to a talk show, while the real transformations of the urban space are passive recipients of private sector demand. The architectural design aims to create "compelling objects" that manipulates forms and materials and are justified only by the architects will to be protagonist. Most part of contemporary architectures seems to produce forms that wants to be all the fashion; they reflects the ornamental and ephemeral character of the mass society and of the age of globalization loosing the search for the essential. The oppositions against the standardization of places, spaces and structure of anthropic space could be a way of resistance that aims to link the architectural design to some paradigmatic principles on which lies the European architecture identity. In the context of the mediterranean architecture Sardinia is a very interesting field of research; for years Sardinia has been considered only a beautiful place for holiday but recently some big "archistar" like Rem Koolhaas, Zaha Hadid, Herzog & de Meuron or Men-des Da Rocha has been invited from the local government in order to design and realize some important transformation. The first probably will be museum Betile in Cagliari designed by Zaha Hadid. Those programs has attracted attention on architecture in Sardinia that, in Italy, has been always put at the edge of architectural debate. But all the architectures designed by the star achitects are "compelling objects" and they seems disconnected with history, place and humanity. On the contrary modern and contemporary Architecture in Sardinia is characterized by superimpositions and contaminations among the specificity of the place, its attendant building tradition and the influence of different design experience. The architectonical language and the expressiveness are deeply influenced by a mix of different tendencies because in Sardinia worked a lot of architects that came from different places and from different architecture schools as Rome, Florence, Milan, Genua. Nowadays is clear also the influence of the way of design that belongs to spanish and portoguese architects. The concept of identity is central; in Sardinia; it is something singular and typical, and for architects is also a choice, in the sense that it reflects their intentions. The identity of a place is, in fact, what survives the continuous changes of the spatial and functional arrangements of the territory, and gives an indelible character to the sceneries where the existence of human beings, and that of forms, merge.

4

Building the existing: memory, analogy, metaphor

Lucchini M.

Zeszyty Naukowe Politechniki Poznańskiej. Architektura i Urbanistyka

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2009

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Z. 17

165-182

EN

Building always means an irrevocable modification of the environment. The place comes before the project and its shape has been consolidated by means of a succession of transformations; architecture introduces a further change which doesn't concern merely the construction of one or more buildings, but rather the mutation of the relationships between those and the environment. The concept of context differs from that of place because of its bigger historical depth; indeed it includes the idea of time, of historical stratification. These elements make up a non-homogeneous space but rich in differences, deposits and debris with which to confront. Analogy and metaphor could be the way trough which architectural design can dialogue with the deeply layered context and the historical fabric of the city. In this way the design of the can have a relationship with memory. Memory is one of the roots of identity and existence, whose finiteness pushes us to take care of the world and therefore to design.

PL

Budowanie zawsze wiąże się z nieodwracalną zmianą w środowisku. Miejsce istnieje przed projektem, a jego kształt jest określany poprzez następujące po sobie transformacje. Architektura wprowadza zmianę, która nie dotyczy konstrukcji jednego czy dwóch budynków, ale raczej zmianę całości relacji między nimi i środowiskiem. Koncepcja kontekstu różni się od koncepcji ze względu na swoje głębsze historyczne znaczenie - zawiera również motyw czasu w stratyfikacji historycznej. Te elementy wpływają na tworzenie nieho-mogenicznej, różnorodnej przestrzeni, bogatej w nawarstwienia i pomyłki z którymi trzeba się zmierzyć. Analogia i metafora mogłyby umożliwć prowadzenie dialogu między projektowaniem architektonicznym, i wartościami istniejącego kontekstu i historyczną tkanką miasta. Projekt mógłby wówczas współistnieć z pamięcią. Pamięć jest jednym z korzeni tożsamości i istnienia, które popycha ludzkość ku dbałości o świat, a więc i o jego właściwe projektowanie.

5

Rewitalizacja historycznego placu w rejonie bastionu siódmego

Venturini G., Bergamini A., Grabowski P., Krajewski G., Lucchini M., Nadolny A.

Zeszyty Naukowe Politechniki Poznańskiej. Architektura i Urbanistyka

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2008

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Z. 16

77-82

EN

The final design result of our group was rebuilding empty square, In north part of Old Town in Zamość. The square is on the boarder between old and new part of city so main aim of our workshop was to connect this two parts together. Project of main square was inspired by numerous axis on the square that are visible. By using the axis and Bernardo Morando's axis we created three dimensional and multifunctional square. We wanted to join the old city with amphitheatre that is located very close to the square. Also we supposed to build youth centre, on the west side of the square and on the east side underground car-park and rebuild the vegetables market.

6

Nowa oś urbanistyczna Zamościa stare miasto - bastion rotunda

Sokolnicki M., Turczyn A., Bonetti T., Cecchetto M., Ridolfi M., Lucchini M., Janowski M.

Zeszyty Naukowe Politechniki Poznańskiej. Architektura i Urbanistyka

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2008

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Z. 16

83-87

EN

Main design idea for the studied area is to create an axis, that would connect the historical center of Zamość with a rotonda located just near by, on its south border. New axis is going to be a natural continuation for an existing one, which begins on the south, entrance elevation of the Academy of Zamość, and currently ending on the ruins of middle bastion of the ancient south wall. In case of the slight angle difference between the existing direction, and a new designed trail, these were provided with logical turning point on the spot where the existing axis meets, and crosses the one running straight through the Leopolis Gate, and that is at the local Cathedral. The range of the design includes creation of the structure, which aims to ressurect the bastion, however not to be the exact copy of it. Instead, it ought to be visual sign of it, on the location, where nowadays exists an embankment with random trees, and bushes growing on. Regulation, and composition of the trail leading to the rotonda is also included in the project, as well as the museum at the end of it. The museum is to be as transparent as possible, with the priority of not to disturb the perception of the contemplation and reverie place, which rotonda is to be, actually.

7

Elements of architectural design in Zamosc experience

Lucchini M.

Zeszyty Naukowe Politechniki Poznańskiej. Architektura i Urbanistyka

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2008

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Z. 16

41-51

PL

Niniejszy tekst prezentuje kształtowanie się tendencji kreowania nowej zabudowy w kontekście miasta historycznego. Liczne przykłady odnoszące się to tego typu działań mają za zadanie ukazanie różnych nurtów i kierunków działania w tej dziedzinie na przykładzie miast włoskich i Zamościa.

8

Citta ideale, obóz naukowy studentów architektury w Zamościu

Bonenberg A., Nadolny A., Janowski M., Leoni G., Pollazo U., Lucchini M., Nicolini C.

Zeszyty Naukowe Politechniki Poznańskiej. Architektura i Urbanistyka

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2008

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Z. 16

5-8

EN

This year' winter has been full o unique experiences, after students from the Faculty of Architecture from the Poznan University of Technology had a chance to participate in an international research camp seminar in Poland. This was a next step in the polish- Italian cooperation which took place between 23th of November and the 2th of December 2007 in city of Zamość. This kind of an urban structure, quite popular in Europe during renaissance has been well thought. Zamość along with Italian Sabbioneta are considered to be the few examples of an ideal city. In conclusion - the camp seminar in Zamość can be counted as a successful one.