Università
della
Svizzera
italiana
Academy
of Architecture

 
 

Quarantotto pagine

M.A.P.  

“This evening, to avoid boring you with familiar matters, I will talk about Borromini as a bridge builder, though physically he never built any. To understand the sense in which the word ‘bridge’ is to be understood, I will give the definition that a philosopher gave, which I will have occasion to speak of again. ‘The bridge rises light and powerful above the river. It not only connects two banks that already exist. The connection established by the bridge firstly causes the two banks to appear as banks. It is the bridge that properly opposes one to the other. The one bank is detached from and opposed to the other by virtue of the bridge. The banks then do not simply bound the river as the nondescript edges of dry land. With the two banks, the bridge each time brings one and the other expanse of the surrounding landscape. It brings the river, the banks and the surrounding land into reciprocal closeness’. The banks that Borromini’s bridges distinguish and connect are many. Those we will talk about are six: the North and the South of Europe; decoration and the architectural organism; the forms of architecture and their meanings; composition and decomposition as a design method; virtual and real; architecture and life” (Paolo Portoghesi).

Quarantotto pagine:

Paolo Portoghesi,

I ponti di Borromini

14.5 x 19 cm, 48 pp.

40 ill. col., 15 ill. b/w

paperback

italian

Silvana Editoriale

ISBN 9788836647989

€ 10 / frs 12.‒

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“To lay a solid foundation for the teaching of the theory of landscape architecture, we need to start by developing a critical atlas of the works created during the short history of the discipline. We need to identify, analyse and interpret these works, which means engaging in a true hermeneutic activity. Research activities in the field of landscape architecture should start here, from the unwritten history of the discipline. This activity will have to proceed in a comparative and open way, scrutinising across a broad range everything that can enter into a (reasoned) repertoire of landscape architecture. As long as such an instrument is lacking, the teaching of the subject will always remain reductive and approximate” (Michael Jakob).

Quarantotto pagine:

Michael Jakob,

L’architettura del paesaggio

14,5 x 19 cm, 48 pp.

27 ill. col., 5 ill. b/w

paperback

italian

Silvana Editoriale

ISBN 9788836645565

€ 10 / frs 12.‒

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«Design cannot be taught as objective knowledge with a clearly defined content, and this is one reason why instruction in this field cannot be integrated into orthodox university models. Teaching design means asking students to experience the project from within, to follow a path of non-linear, analogous, associative, and open-ended thinking combining intuition with the application of objective knowledge. Above all, it calls for a coherent theoretical and formal narrative that is not determined a priori, but rather while the project itself is being worked out. Students must directly experience how anything, or almost anything, can be transformed into an architectural idea. This is likely a new approach for them as it breaks with the positivist instruction and scientific fundamentals on which most of the educational systems they experience before entering a school of architecture are based. My teaching is not unilateral: it is itself, in an analogical way, hesitant, wavering, coming together bit by bit as it goes along» (Éric Lapierre).

Forty Eight Pages:

Éric Lapierre

14,5 x 19 cm, 60 pp.

27 ill. b/w and col.

paperback

english / italian

Silvana Editoriale

9788836642380

€ 10 / frs 12.‒

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«One moment is not like another. To wait for the right moment. Or to see the right moment. First this one. Patience. And then the next. Ready to see it. This moment, that is what it is about. This moment, which could be a definition. One of the definitions. Of architecture. On architecture. The moment when things that are seemingly unrelated suddenly and immediately seem to really relate to each other» (Jan De Vylder).

Forty Eight Pages:

Jan De Vylder

14,5 x 19 cm, 52 pp.

49 ill. b/w and col.

paperback

english / italian

Silvana Editoriale

9788836637232

€ 10 / frs 12.‒

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«Many years ago I was struck by a lecture by the German philosopher Hans Robert Jauss, who maintained that in life … it is important to be prepared. I realised that we must always work hard and that even in the absence of any real prospects, what is important is to be prepared. As we know, the idea of a project pre-exists to some degree the opportunities of time and place, and that makes Jauss’ philosophical suggestion even more useful for us as architects, as it reminds us that preparation is a form of project design» (Francesco Venezia).

Forty Eight Pages:

Francesco Venezia

14,5 × 19 cm, 52 pp.

22 ill. b/w, 1 ill. col.

paperback

english / italian

Silvana Editoriale

9788836630691

€ 10 / frs 12.–

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«Hélène Binet’s photographs pose intriguing questions about the relations of the viewed subject and the artistic intention, entity and detail, space and atmosphere, materiality and illumination. … Buildings turn into landscapes, while landscapes become intimate tactile surfaces as if they were the aged leather of a living creature. Even air tends to take on characteristics of solid matter; the sky is no longer a void, as it projects a sense of gravity and opacity. Her images accentuate materiality, as if they were intended to be experienced through the skin rather than the eyes» (Juhani Pallasmaa).

Forty Eight Pages:

Hélène Binet

edited by

Daniela Mondini

14,5 × 19 cm, 68 pp.

22 ill. b/w, 1 ill. col.

paperback

english / italian

Silvana Editoriale

9788836630707

€ 10 / frs 12.–

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