Sub specie aeternitatis

Per delineare il rapporto tra etica ed estetica nell'architettura e rispondere alla domanda principale «che cosa è o dovrebbe essere un buon architetto?», il saggio discute la tesi di Wittgenstein secondo cui «l'opera d'arte è l'oggetto visto sub specie aeternitatis e la vita buona è il mondo visto sub specie aeternitatis. Questa è la connessione tra arte ed etica».In order to outline the relationship between Ethics and Aesthetics of architecture and answering the main question «what is/ought to be a good architect?», the essay discusses the Wittgenstein's thesis by which «the work of art is the object seen sub specie aeternitatis; and the good life is the world seen sub specie aeternitatis. This is the connexion between art and ethics»

L. WONG - Adaptive Reuse. Extending the Lives of Buildings

Liliane Wong Adaptive Reuse. Extending the Lives of Buildings Basilea: Birkhäuser, 2016. 264 pp. Tapa blanda. Idioma: inglés. 39,95 € ISBN: 978-303821537

L. WONG - Adaptive Reuse. Extending the Lives of Buildings

Liliane WongAdaptive Reuse. Extending the Lives of BuildingsBasilea: Birkhäuser, 2016. 264 pp. Softcover. Language: English. 39,95 €ISBN: 978-3038215370Liliane WongAdaptive Reuse. Extending the Lives of BuildingsBasilea: Birkhäuser, 2016. 264 pp. Tapa blanda. Idioma: inglés. 39,95 €ISBN: 978-303821537

Looking at Zagreb: The Italian State as a Popularizer of Contemporary Art

In 1965, at the 12th International Conference of Critics, Artists and Art Scholars, held in Rimini, Verucchio and San Marino and devoted to the theme Art and Technology, Italian art critic Giulio Carlo Argan declared that Yugoslavia had overcome the problem of the relationship between art and technology. His statement concerned to the cultural milieu of Zagreb that Argan had known from the early Sixties. In the same year, Palma Bucarelli, the chief curator of the Rome National Gallery, attended the Brezovica conference held for Nova tendencija 3, to present a project in which the museum had a significant role as a state institution that had to encourage contemporary art in order to free artists from the pressures of the art market and private art galleries. In 1963, another art scholar, Umbro Apollonio, the curator of the Venice Biennale Archive for Contemporary Arts who had directly participated in the Venice exhibition Nuova tendenza 2, claimed that Italian Public Art School needed a new relationship between teaching and industries. My presentation aims to highlight how Argan, Bucarelli, Apollonio and other Italian scholars hoped for the state to intervene in the Italian art system and also how their ideas were inspired by the Croatian political and cultural situation of the 1960s