Eugenio Carmi: una dimensione interdisciplinare

Realizzato per il catalogo della mostra "Eugenio Carmi, dalla carta al metallo, opere 1956-1962" che si \ue8 tenuta presso la Galleria Martini & Ronchetti di Genova dal 31 marzo al 27 giugno 2015, il saggio \ue8 dedicato alla storia di Eugenio Carmi, grafico dell'Italsider e artista sperimentatore di nuove tecniche e nuovi metodi espressivi

Pattern

The word “pattern” is a very complex term. Generally, it refers to “an arrange- ment that reveals an order, or design, which is meaningful” (cf. Thaker 1999: 427). But a quick look at many of its different domains of application (e.g. theoretical biology, mathematics, aesthetics, linguistics, etc., etc.) proves that “pattern” has a semantic potential richer than one usually expressed by such a definition. For instance, in the framework of the so-called combinatorics on words (cf. at least Lothaire 2012), a pattern is “a word over an alphabet of variables and is meant to describe some kind of repetitive structures” (cf. Rampersard 2017: 98). Therefore, in this first theoretical approach, “the pattern XX over the single variable X is meant to describe the repetition of the same word twice in succession” (cf. Rampersard 2017: 98)

User's Continuity in Design Continuous Innovation

Il fattore temporale sta modificando in modo radicale i processi di innovazione dei prodotti e dei servizi, soprattutto nei settori tecnologicamente pi\uf9 avanzati. Questo studio mette a fuoco la visione dell\u2019approccio Advanced Design rispetto al mutamento dei tradizionali ruoli principali del processo di innovazione design driven: il designer, il committente (client), l\u2019utente (user). In particolare, nel progressivo transito da progetto intermittente e puntuale con un inizio ed una fine verso il concetto di \u201cinnovazione continua\u201d cerca di indagare la figura dell\u2019utente e le sue trasformazioni gi\ue0 emerse e potenziali rispetto alla scena dell\u2019innovazione. Il capitolo parte con una mappa delle trasformazioni provocate dal mutamento del concetto di tempo nei processi di innovazione, restringe quindi il campo di esplorazione alle culture del design e traccia il profilo \u201cdell\u2019utente continuo\u201d ossia di una figura di destinatario della merce o dei servizi che intende partecipare al processo di innovazione. Il capitolo termina riportando un caso studio contemporaneo nel quale viene progettato un particolare tipo di Design Center predisposto alla partecipazione dell\u2019utente ai processi di innovazione continua."Innovation is increasingly becoming a continuous process. The temporal and organizational episodic nature which has so far characterized the design process is no longer adequate to the complexity that innovation requires today. It is no longer possible to begin a project with a definite temporal deadline expecting it will lead to a consistent or radical or important innovation of a product or a process. More and more, innovation is continuous and in this logic (definitely Advanced design-oriented) the role of the people involved changes, including the role of the subject recipient of the project. My intention therefore, is to seek to describe what happens to the designer, the client and the user, when the process of design driven innovation is continuous.

Religious Festivals Machines as Transition from Popular Culture\u2028Towards Industrial Design: Construction and Interpretation of the Giglio of Barra and Nola in Southern Italy

The aim of the paper is to describe, as an example of mediation between popular culture and industrial design, the case of a particular system of machines: those used in religious festivals of the Gigli in Barra and Nola, in Southern Italy. The Giglio is one of the four festival machines entered by UNESCO in 2013 in the intangible heritage of humanity list. It is a tower of wood, papier-mâché, nails and pins, 25m. high, that is carried on shoulder and "Ballad" with live music. The careful analysis of construction method of Giglio and the measured drawing of the structure, made it possible to understand the structural setting and construction mode for components. This mode represents a mediation between the concept of mass production and the single artefact, adhering to the formulation of a "standard dialect", as theorized in the early fifties of the last century

Delphi: dall'omphalos cosmico al Museo Archeologico

The permanent exhibition in the Archaeological Museum, which focuses on the history of the Delphic temenos and the events related to the famous oracle and omphalos, is analyzed through the complex and delicate relationship which the contemporary museum building has established with his context, as the archaeological site of Delphi can be read as an open-air museum, which was able to accumulate and settle inside its perimeter, in a variety of declinations, the architecture and the art of ancient Hellas

ELOGIO DELLA POLEMICA

This article pays tribute to the renowned polemist, Vittorio Sgarbi, an art-critic who is exceptionally active in the cultural, social, political and parliamentary fields. Collected together are a few significant snippets from his printed works, from which there emerges his unflagging zeal and interest in figurative culture, from ancien times up to the present. Propelled by the driving-force of history and aimed at the conservation and safeguard of the cultural, artistic and landiscape heritage, the resulting vis polemica, backed up by his reasoning, is of great fascination to the general public