Illusione e seduzione in quattro interni del Novecento Viviana Saitto Stanze tutte per sé.
Journal of Italian Cinema & Media Studies Conference | The American University of Rome
Una visione calvinistica del piacere Luca Zilio Retrofuturismo? Fabrizio Rossi Prodi Dalla cattedrale al pop-up.
Prospettive di tutela e salvaguardia del patrimonio delle sale cinematografiche Susanna Caccia Gherardini Persiane chiuse. The Alps, the city of Bergamo, Lisbon and the Alentejo, Caminha and the river Minho, on the border between St elizabeth perdita di peso firenze ky and Spain, are the places of projects by Mario Botta, Adolfo Natalini, the Aires Mateus brothers and Sergio Fernandez seized by the authors of the essays in the agonistic relationship between type and nature, architecture and ruin, or in the unexhausted search for the void.
The section Horizons gathers some reflections on Retrofuturism, on perspectives concerning the safeguarding of the heritage represented by movie theaters, and includes the cinematographic narrative of a fundamental moment in the come posso perdere peso velocemente in modo naturale transformation of our country during the 20th century: the years of the controversial Merlin act, which sanctioned the banning of brothels.
Eliot, The Waste Land Desire, as we all know, feeds on itself. Not only the object or person that are being desired, merely an image, even just a phantom, of them can rekindle desire and set it aflame.
Consumed by desire, all wanting and yet deprived of it, the feeling can spread to every limb. Not only do we desire because st elizabeth perdita di peso firenze ky lends intensity to our sense of self, it also affects others and, as if by magic, ignites their desire in turn.
If desiring is to experience the lack of something that is being wanted, st elizabeth perdita di peso firenze ky possessing that something bring satisfaction or merely strain our feelings?
While not the only sense by which we sustain our desire — surely, smell and sound hold their own — the eye is perhaps the most privileged organ by which we fasten on the object of our desire and indulge the feeling we hold for it.
To stare, as if to fixate a prey, or only furtively glancing at it, can turn beholding into a feast for the eye or into torture for the heart. Unable to take ones eyes off something makes the lack of it all the more painful, the memory more maudlin, the loss unbearable.
If such desiring inhabited our surroundings, transforming them into a chamber of longing, what would they look like? Where languid sculptures, half-blind mirrors, spidery tables and deeply cushioned seats induce a curious sense of strained relaxation, of unfulfilled yet savored appetite, there is the haunted house of desire.
Because it is the body that desires, not just the eye and the heart, it matters where and how we find ourselves when caught in a state of desiring. Engineering will be no less 4 important than imagination and theatrical flair in order to induce a state that triggers anticipation.
Hence it is possible to say that we desire an actor in a particular role rather than only seeing her or him on stage in whatever guise. Ideally the actor must be a person we might desire, and his or her role one we affectively like st elizabeth perdita di peso firenze ky dislike. What actors accomplish turns out to be rather close to the heart of desire itself: we wish for it and cannot have it; we have her and cannot keep her what she is, or was, or might be.
Carlo Mollino built such a theater for himself, more than once and in different domains. Most of the photographs he took as a theorist of discesismo — of downhill skiing — he took in his garage. Striking the perfect pose while staying immobile, he could then blend the shot into winter landscapes he seemed to traverse at great speed. Throughout his life Mollino also busied himself with the theatrical stage.
Before the Second World War, he toyed with theatrical sets, and as early as began to design auditoria3.
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Theater and cinema lure their public onto treacherous ground. By this time, the moral opprobrium against theatrical sham may have waned, but the technologies of spectacle and the psychology of performance were destined to transform the very nature of modern media experience.
Settings for specific activities, such as horseback riding and alpine skiing, or for places that induce particular states of being, such as private retreats, auditoria, exhibition spaces, and even the intimate world of dreams.
What remains constant across the wide range of buildings he designed, and what anchored them in his imagination, is also the single characteristic they share: theatrical destination4. All of them set the stage and play to the curiosity of visitors and observers; all of them imply spectators and yield an infinite number of images.
Steeped in cinema and wielding the camera himself, the young Mollino formed his kaleidoscopic vision of existence as artifice. At once the metteur-en-scène of his fantasies and an actor in them, he never forgot that he was also the spectator. As if in a maze of mirrors, he is everywhere to be seen and yet nowhere to be found: Behind the curtain or brazenly on the proscenium, he sets the lights, prepares the camera, but often arrests the action.
Some of his celebrated photographs, such as those of his Casa Miller and Casa Devalle —40play elaborate tricks with views and reflections, matching materials that are soft and silken with others that are hard and shiny. Remaining an invisible spectator, rather than one captured in his own picture, Mollino escapes via the pentimento.
Whether a hat rack was to be held in place by a coiling rod, or the best path of a schussing skier inscribed on a slope, Mollino always felt their trajectories in his body before computing and drawing them. His thinking did not pass through verbal or mathematical abstraction.
Instead he tapped his intuition and drew on experience as a source of ideas. His body was his pencil, pondering and straining the forces playing upon it and allowing swerving lines to body forth, which is why his works possess a powerful sensual st elizabeth perdita di peso firenze ky and induce vicarious experiences in the observer.
His treatise on Discesismo [Downhill Skiing] could be misclassified as a design book, a reflection on fluid aesthetics, a sports manual, or an ethical tract on the nature of locomotion.
There are virtually no candid snapshots of Mollino, but a bewildering range of photographs that cast him in a variety of roles, all played by an unchanging persona. This is not to say that he was solipsistic, because he needed to lure others into the lair of his imagination in order to stir his own mind to work and flex the muscles of his body.
On the ski slopes, it was Leo Gasperl; on the racetrack, Mario Damonte; in the air, his Swiss flight trainer, Albert Rüesch, who performed ideally what Mollino attempted for himself without taking up the gauntlet of the professional7. For the camera, he performed with dedication; for the calculated thrill of erotic excitement, he initiated lady friends into his wiles, and recruited others for more arduous assignments that required dressing the part as much as they relied on undressing as an art.
His erotic photographs have been turned into semi-clandestine objects of private collectors and vanity publications, but they would be worth analyzing as a domain of his imagination that is intimately bound up with his design work rather than as the self-indulgences of a fetishist. What Ray and Mollino have in common is precisely their capacity to endow objects with the animate state of bodies and conversely, to objectify human limbs as fragmented representations of emotional states. In the domain of art proper, his friendships with the painter Italo Cremona and the writer Carlo Levi were defining for his perception of the city and his manner as an arrangeur of objects for his camera.
He designed as much for the camera as for various st elizabeth perdita di peso firenze ky or ostensibly practical purposes.
Presenze artistiche musulmane a Firenze. Tra Oriente e Occidente. Lo spazio della soglia Roberto Bosi 62 Semantica del Tipo. Aspetti di una ricerca Sergio Foti 78 Dove affiorano le rocce. Vi ritroviamo la domus nelle variazioni e ibridazioni che hanno costituito un fertile ambito di sperimentazione, dal Rinascimento alla contemporaneità; le corti della lontana?
His is camera-ready work, for nothing that shapes the image escapes his forethought: Lighting is all-important, the qualities of every surface and their reflections congeal in the instant the shutter opens. These images retain a direct connection with their setting through a succession of internal frames that typically break the format into sharply divided segments.
As a matter of fact, the setting shares its sharply segmented fields of vision with the office of an eye doctor, its reversal of inside and outside and its disjunctive perspective with stage design.
Apart from the centrally suspended mirror, everything seems to drift toward a liminal position, teetering toward the edges of our field of vision. For Mollino, the theater furnished an abiding metaphor for his desire to cast things into the light of deeply personal interest and to build a stage, however small and exclusive, for an audience of one, himself.
The objects in his tableaux never shed a mysterious loneliness, and invite us to share precisely the aspect that symmetrically corresponds to the loneliness of their creator. In a word, Mollino completely refashioned the Mole as an image whose power is utterly theatrical and thereby as illusory as it is expressive.
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Mollino was ever intent on st elizabeth perdita di peso firenze ky his interiors as much for the images they would yield as for the uses their occupants might have made of them. Strikingly similar interiors had also been invented by the young Raymond McGrath for a client of a very special sensibility, the English don Mansfield Forbes in Cambridge, England.
Inaugurated in as a radically modern setting for gatherings of like-minded friends in their quest for modernity, the dream house Finella conjured effects of glass, mirrors, and metallic and lacquered surfaces inside the shell of an existing 10 house This curious creation, laced with intimations of personal history, literary predilections, and sexual desires, caused a stir, launching the architect into the domain of interior design for the BBC at Broadcasting House.
Common to both is a particular sensibility in the absence of any author or recipient for the sensations they so strongly provoke. Several of his private buildings were known exclusively in self-reflexive icons, others have survived only in effigy.
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A peculiarly stagy quality unites even the most diverse among them and assimilates them by virtue of optical effects. Light and shade are the twin phenomena that play an unending game with each other, interrupted only by flashes of illumination bouncing off of mirrors, or darkness descending and engulfing them.
Shadows acquire substance and leave more than fleeting traces. As if to give proof of a mysterious process of oxidation, light darkens the silver coating of mirrors and adds a shade to their lining. This is the real Mollino, forever staging scenes in which his feelings make all the difference: He reverses the contrast between the sunlit window and its blinding reflection by turning the room into a nighttime chamber with curtains brushing against the mirror glass.
A brief spell in the countryside assumes the guise of memory as if St elizabeth perdita di peso firenze ky Redon had put his pencil to it. By plunging the viewer into night and keeping the antiquated interior in a state of inexplicable suspense, Mollino conjured the suspicions and anxieties of the sleepless.
First, with the auditorium of the state radio company RAI in Turin, he turned what remained of an indoor circus into the twin lobes of stage and arena, chiefly for musical performances.
Le vittime sono due uomini, un 38enne deceduto sul colpo e un altro più giovane spirato dopo il trasporto in ospedale. Secondo il altre due persone sono rimaste ferite, trasportate in ambulanza a Sondalo e Sondrio.
Late, but not too late, a project came his way in which he could invest every quantum of his lifelong avocation. The Teatro Regio opened only after his death, but it bears his imprint in every detail.
Гигантские светляки повернули прямо к востоку. Время от времени навстречу людям попадались небольшие группы крупных муравьеподобных созданий. Однако никакой реакции на незнакомцев они не проявили.
The fits and starts of its history challenged Mollino to project a building that would encompass and exceed its own history. And that is precisely what he did: On the celebrated square, he rebuilt the colonnaded front, and in the gap between its backside and the depth of the lot, he opened a vehicular passage under a tall canopy that doubled as an external foyer.
From the cross-passage, theatergoers catch a first glimpse of the interior in its three-story height and soon find themselves circulating on platforms of swerving contours.
Stairs soar like magnificent trees and their structural supports branch in anticipation of the fan-shaped ceiling. Folded like napkins of old into coffers of varying polygonal shape, the crisp ridges of this waffled concrete ceiling expand to form an extraordinary canopy.
Maybe one could think of the Teatro Regio as the perdita di grasso di glastonbury stage on which Mollino indulged his private desire for an architecture that would hold its secrets to the last while teasing us along and keeping us prisoners of our own desires.
Tracy C. Jacomuzzi, Invenzione e scrittura. Carlo Mollino romanziere, Carlo Mollino, —, exh.