W HY_BEcause

A tacit collaboration

Architecture constructs places lived by man and cinema is inspired by interpreting the visions and dreams of different eras, operating in tacit collaboration.

Sharing this perspective, the first Festival of Architecture and Cinema was held in Pescara between 5 and 9 May 2014, promoted by the Department of Architecture of Pescara of the University “G. d'Annunzio ”and directed by Carlo Pozzi and Piergiacomo Bucciarelli.

The event divided into four thematic sections, involved not only the students but also the citizens, in fact, the locations were located between the university and the city of Pescara.

The CINELABORATORIO_Relationship between Architecture and Cinema ", curated by Prof. Piergiacomo Bucciarelli, provided the basis for watching with wise eyes the evening films selected in" VIEW_Il film di Narrazione "introduced by professors Carlo Pozzi, Piergiacomo Bucciarelli, Claudio Varagnoli , Caterina Palestini and commented by young writers, such as Cristina Mosca, Alessio Romano, Federica D'Amato who talked about their work and the relationship with architecture in the section dedicated to them, "AUTHORS_Incontro con young writers".

During these days, space was left for the creativity and passion of the students and filmmakers who, thanks to the under 40 competition, organized by the LAB.A STUDIO studio, entitled "SHORT_Corti d'Architettura: describe an architecture then tell it" were able to express their their reflections through cinematographic visions.

The Festival ended with the awarding of the winners of the competition. Davide Di Fonzo, in first place with “Mammuth Architecture”, which ability was recognized for the video-denunciation of a complex problem of contemporary architecture, that of abandoned spaces. In second place "Olympic Stadium" by Riccardo Messino, in third place "Mumi" by Bryan Ronzani and recognized with a special mention "Istante" by Marco Corona.

With the aim of highlighting the relationship between architecture and cinema, WOO invites you to watch the sequel film to "The sky above Berlin", "So Far, So Close" by Wim Wenders, co-director of the new project, scheduled for 2015 , “Cathedrals of culture”.

Good vision!

W02 ° Y'EP "

Who is Rem Koolhaas?

The director of the 14th Architecture Biennale, which will be held in Venice from 7.06 to 23.11, is one of the leading interpreters of the theory of contemporary architecture, if only for his enormous literary production on the architectural theme. A very eclectic personality, in perpetual oscillation between publishing, storytelling and building design.

He made his debut at the age of 19 as a reporter on artistic issues in "De Haagse Post", a newspaper close to the Dutch liberal right, in which he repeatedly affirmed the importance of "the uncompromising acceptance of reality" (1), of which he did not you have to make a moral […] you simply have to grasp their criticalities and draw design strength from them. His approach to architecture materializes immediately after having worked as a screenwriter, and without abandoning his "literary idea" of architectural design. Exodus, or the Voluntary prisoners of Architecture (1972) [...] is the story of the London population who voluntarily lock themselves up in an architecture similar to a macro-object, a continuous monument, within which every man can satisfy his perverse desires, dictated by the frenetic and changing contemporaneity; an ideal-physical space “social condenser” derived from Soviet Constructivism, not a simple architecture, a “provocative scenario for that experiment which is modern life” (2).

[...] In response to the various inputs requested by users, the pre-eminent character of Koolhaas's work arises, the programmatic tension that materializes in projects with complex, dynamic programs and spatiality, in which connections are the master: lifts, ramps, stairways, "a structure that makes the process its peculiar characteristic" (3). With the work "S, M, L, XL", the Dutchman again subverts the canons of architectural literature through a mixture, as wonderful as it is disharmonious, of his own works, old theoretical writings and "a dictionary of improbable voices" (4 ), all cataloged by size and not by date or type, "a dissonant, grunge presentation of works: a cross-section of the confusion and multiplicity of the world it aspires to represent" (5).

However, his most fervent theorization remains the one he reached in 1994, "Bigness, or the problem of large dimensions", a theme already addressed in "Delirious New York", in which Koolhaas abandons at least in part the conceptual-metaphorical approach that had accompanied up to that moment his dissertation and deals with spatial issues and static-constructive problems with greater interest. Through 5 theorems (critical mass, artificiality, lobotomy, beyond good and evil, fuck context) the Bigness is described, the architecture taken to the extreme that moves from the need to solve the problem of population increase in the metropolitan city , architecture of the third type, […] which impacts on the context within which it is inscribed with its monumental authority "for a single question of size […], regardless of quality" (6), and even disavows it.

1 Rem Koolhaas,

Nulbeweging Manifesto (Zero Movement), De Haagse Post

2 Rem Koolhaas,

Exodus, or the Voluntary prisoners of Architecture, 1972

3 Rem Koolhaas,

Junkspace, Quodlibet, 2006

4 Marco Biraghi,

History of Contemporary Architecture II, Little Einaudi Library, 2008

5 Marco Biraghi,

History of Contemporary Architecture II, Little Einaudi Library, 2008

6 Rem Koolhaas,

Innocent End of the Century ?, in Jaques Lucan, Oma, Rem Koolhaas.

Architectures 1970-1990, cit., P. 165

W02 ° Y'AM "