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Alcuni degli spazi archetipi della casa premoderna, nell’ultimo secolo, sono scomparsi dalle planimetrie in nome dell’ottimizzazione della superficie abitativa. Il sofa della casa turca, tra gli altri, potrebbe essere una interessante alternativa, tutta da sondare, per mettere in discussione la configurazione tipica dell’interno domestico occidentale. La sua origine come spazio di soglia lo riconduce a una introflessione della corte anatolica. Ne definiremo l’origine spaziale e tipologica e ci soffermeremo sulla sua inerente modernità, così come è stato rivalutato il ruolo della long gallery. Il sofa consentiva un viaggio domestico costellato da ricchezze visuali, esperienze intime, differenze spaziali. Si estendeva, piegava, allargava a possibili diversi utilizzi nella quotidianità domestica che la casa contemporanea necessiterebbe. During the last century, optimisation processes of the residential architecture have been eradicating many archetypal spaces of the pre-modern house from domestic layouts. The sofa of the Turkish house, among these archetypal spaces, is a relevant precedent that can help us question and eventually undermine the typical features of the western domestic interior. Its basic essence as a transition space originates from the ancient Anatolian courtyards. This paper aims to discuss both spatial and typological features of the sofa to emphasize its intrinsic modernity, as it has been done in the case of recent reconsideration of the Elizabethan long gallery. Sofas allowed a domestic experience to be filled with visual richness, deep intimacy, and spatial variations. The sofa could extend, adjust, and widen the experience of the private realm letting diverse uses and accommodations. This is exactly the degree of indeterminateness that a contemporary flat dramatically lacks.

This article considers the formation of stereotypical images associated with the picturesque of the South, analysing the case of Naples. The text examines selected urban images reported before and after the late-nineteenth-century Risanamento period of dramatic renovations of the old town, with a focus on city-as-body and city-as-theatre tropes. The inevitable departure is Il Ventre di Napoli (1884-1906, The belly of Naples) by Matilde Serao. We will see how Serao tackles all contradictions of a built environment teeming with life. We have then connected excerpts from foreign travellers, again before and after the Risanamento, to the pleasures (or sickness) of flesh and theatricality. These displaced meanings parallel many descriptions by writers that travelled to Naples: Charles Dickens and the pantomime, Jean-Paul Sartre’s delirium of flesh and rotten food, Benjamin and the city, Writingplace, No. 6 (2022): Meaningfulness, Appropriation and Integration of/in City Narratives

After the outbreak of Covid-19, galleries and museums have been experimenting with new ways to engage a potential audience remotely. This study focuses on the level of engagement of virtual tours in museums looking at the representation of architectural space, representation artifacts, and ease of use as possible correlated factors. A sample group of eighty early-career experts in the field of art, architecture, or design assessed their visit to the archaeological museum of Troya Müzesi in Çanakkale, Turkey; half of the participants resided in Turkey, while the other half in Italy. This paper has addressed the following research questions with an online multi-level study: how is the online exhibition platform evaluated by its audience? Can regular employment of virtual tours engage new visitors in the long term? Is the representation of a museum, in the form of a virtual twin, an adequate surrogate that creates an immersive visiting experience?

Embarking on a workshop with the aim of exploring the narrative potential of the myth and the site, I set out with the assumption that the myth of Troy would overrule everything in Çanakkale. However, it is not so straightforward to say anything conclusive about the impact of the myth of Troy on the city of Çanakkale, separated by 30 kilometres and 3000 years. There is no singular, large story that bridges the gap between Troy and Çanakkale, that can clear the mists of fiction, myth, and fable. In the workshop and the ensuing paper I documented a collection of micro-stories, and it is only through their messy heterogeneity that we can see possible connections and relations shimmering through…

Fake News as propaganda is not a novel creation by the former President of the United States (POTUS) and the use of architecture as propaganda to propel populist agendas is no different. This article will observe two case studies, Skopje 2014 implemented by the nationalist conservative party VMRO-DPMNE of Macedonia and the Promoting Beautiful Federal Civic Architecture Executive Order no. 13967 by Donald Trump, former POTUS. These Two case studies will be discussed in how architecture feeds the populist agendas through two different types of political administration. The term fake will be associated with misinformation, mistruth and through a historical sweep and comparisons. This article argues how the use of neoclassicism as an architectural style outside of its historical context coupled with the political agendas would be considered propaganda and in turn fake.

Don't Try This At Home is a widespread group show spurred from the global impact of Covid-19. It brings together contributions from an international group of artists that explored the idea of artistic domesticity within their quarantine space.The room/house, as a paradigm of the human micro and macrocosm, has become the sole space of action due to the Covid-19 pandemic that caused worldwide lockdowns and isolation. The domestic space has turned into a vital impulse in generating creativity during the darkest of times. Thus, the private place par excellance becomes the performative domain of our ordinary daily routine.Antilia invited the contributors to challenge their innermost living situation in order to transform it into a space for artistic interaction. The same space also investigates, discovers and re-defines the domestic field as an exhibition venue. Our preconception of privacy in the past has a spatial and aesthetic transformation in order to embrace visitors’ intrusions as welcomed visits.Rather than focusing on the what has become daily monotony, we would like to treat our condition of forced quarantine as a possible field of experimentation of the interior landscape, ordinary life and expectations, mental breakdown, threshold of inside/outside, lack of physical contact and informatization of sociality.Each artist aimed at an original way to exhibit their art from home, literally a homemade exhibition set. Visitors peeked at the artists’ diorama by discovering the thin threshold between artistic research and personal life.The book features the work of CHIAOZZA (Adam Frezza & Terri Chiao), Dessislava Madanska, Esther Hoogendijk, Francesco Romanelli and Giulia Gazza, Giulio Bensasson, John Gatip, Jiří Kamenskich, Kickie Chudikova, Mary Cinque, Materia Ordinaria, Rebecca Reeve, Sofia Pera + Miguel Seabra, Webson Ji, Yuli Sung.Essays by Cécile Angelini and Gabriella Sá; cover design by Gökçe Varlı; project coordination and curatorship by ANTILIA Gallery.

Il testo propone la metodologia di realizzazione di un catalogo generale del il paesaggio albanese come strumento ausiliario per pianificare futuri interventi di rilevanza urbana. Presentato come esempio di una più ampia attività di ricerca svolta tra luglio 2016 e giugno 2018, il Catalogo delle Tipologie Paesaggistiche è strutturato su una campagna fotografica operata lungo i principali itinerari storici in Albania. Quattrocento viste selezionate sono state classificate e ridisegnate al fine di identificare caratteristiche ricorrenti e regolarità visive relative alla linea dell'orizzonte, all'area urbanizzata, alla vegetazione e così via. La condizione contemporanea del paesaggio albanese viene poi confrontata con quella del periodo pre-urbanistico, all'inizio del XX secolo, quando la Società Geografica Italiana inviò importanti studiosi e geografi italiani per studiare il territorio albanese. A general explanatory catalogue for Albanian landscape should be an important tool for planning future interventions across the country. Presented as a sample of a wider research activity carried out between July 2016 and June 2018, the Catalogue of Landscape Typologies is structured on a photographic campaign operated along the main historical itineraries in the country. Four hundred selected views have been classified and redrawn in order to identify recurring features and visual regularities pertaining to horizon line, urbanized area, vegetation, and so on. The contemporary condition of Albanian landscape is then compared with that of the pre urban planning period, namely early XX century, when the Società Geografica Italiana dispatched important Italian scholars and geographers to study such pristine territory.

I progetti presentati in questa monografia sul giovane studio pietroburghese Chvoya sono un viaggio dalla dimensione più domestica a quella pubblica. Da una casa per artisti dispersa nella foresta alla via pedonale che collega la Nevsky Prospekt a Piazza del Palazzo nel centro di San Pietroburgo. Superando il problema della scala, ogni progetto di Chvoya è un dispositivo per farsi guardare, per prepararsi a guardare, e infine guardare. Chvoya ci mostra un'architettura che finalmente si allontana dal lirismo contemporaneo lavorando sulla verità del linguaggio della costruzione. Come nelle pellicole di Dziga Vertov, forma e tecnica sono preminenti ma gli attori non devono accorgersi del regista. Impongono un ritmo serrato a tutti gli spazi per poi trascenderlo senza abbandonare la chiarezza compositiva. Un modo di progettare che racconta di San Pietroburgo ma si rivolge al panorama internazionale. Monograph book on the Russian architecture office AB CHVOYA (АБ ХВОЯ). "The series of projects presented in this monograph about the Saint Petersburg-based firm CHVOYA is a journey from the most domestic to the public dimension. From an artist house in the forest to the pedestrian street connecting the Nevsky Prospekt to the Palace Square in Saint Petersburg".

Il testo intende discutere la possibilità di costruire nuovi scenari per il recupero di spazi dismessi finalizzati a sperimentare forme di coesistenza dell’abitazione con il lavoro, offrendo spazi che si adattino ai cicli economici delle aree urbane. In particolare si esamineranno alcune pratiche di co-living in relazione ad edifici riconvertiti o in una fase di transizione. Proponiamo quindi di guardare alle possibilità offerte dalla dimissione di affrontare il tema della obsolescenza urbana da un lato, osservando d’altra parte la sperimentazione di nuove forme dell’abitare dentro contenitori già esistenti e storicizzati nel tessuto abitativo. Pur nella consapevolezza delle molte dimensioni che tali fenomeni chiamano in causa, la nostra attenzione si soffermerà su tre aspetti: il mutare delle relazioni tra spazio del lavoro e spazio domestico; lo studio di alcuni casi di interventi di co-living in contenitori dismessi; il potenziale e i limiti insiti in tali processi entro il quadro più ampio dell’approccio al riuso e dei mutamenti disciplinari.

Descrizione del patrimonio culturale sommerso costituito dai relitti aeronavali sui tra Nardò e Gallipoli e strategie di valorizzazione

The growing beach touristic vocation of the Lecce Province has led to increasing human pressures along its coasts over the years, often on habitats of conservation interest. Furthermore, the ever-increasing erosion phenomena of the sandy shoreline constantly requires fast and effective monitoring activities assessing the conservation status of the dunes and shoreline. Remote sensing through the use of RPAS (Remotely Piloted Aircraft Systems or Drones) is proving to be very useful for identifying phenomena that act on a small scale and supporting and implementing protective measures according to an adaptive management approach and to favour the creation of a long term investigation model, through multi-year surveys on conservation interest habitats. The photographic data and their photogrammetric elaboration allow to find a specific point, thanks to georeferencing, on which evaluate the evolution of certain phenomena following the analysis by different types of experts able to extract a large amount of data from the same photogrammetric product, this thanks to the possibility of choosing analysis scales from the meter to the centimetre. In recent years this technique has proved to be extremely effective and interesting in the environmental analysis of a multitude of matrices. The present work consists of a protocol for monitoring the dune cordons and the nearby shorelines through the use of RPAS. This kind of survey allows to create a geodatabase with spatially-explicit detailed maps able to provide a useful tool for monitoring overtime the erosive phenomena and/or the anthropic abuses on nature to the detriment of the beach system.

This paper explores the relationship between interactive technology and visitor experience, focusing on how digital storytelling in online virtual exhibition environments enhances the visit of a virtual show. COVID19 spurred the creation of new online exhibition platforms, accelerating an ongoing process in which galleries and art-related institutions were experimenting new ways to address a potential audience remotely. The environment of an online art exhibition is a complex blending of artistic content, appropriateness and quality of the architecture of the platform, human-machine interaction mechanism. In order to explore this chain of problem, we will pose the following questions: how are online art and exhibitions platforms evaluated by their audience? Are they engaging when used regularly? What is the actual role of the visitor and how active is his/her agency in respect to a pre-designed exhibition? Do these interactions and digital storytelling create a personalized experience? The participants of the study, which are digital natives, have been tested on one online virtual exhibition tour of the National Gallery of Victoria. For the investigation of this relationship in the light of past studies, a multiphase study was developed and conducted online. The online interview was performed to obtain participant subjective opinions on digitization, and digital storytelling applications data, then online virtual exhibition tour and questionnaire to obtain participant interaction, personalization and engagement data. Although there were sceptical feedbacks about the possibility to have an experience of the virtual exhibition that would replace that of the physical venue, the overall findings showed that digital storytelling had a positive relationship on enhancing the online visitor experience. Better visitor experience, high interaction, and long-term engagement are the intended achievements of these art and exhibition spaces in order to attract new and different types of audience.

Si individua una pratica per la fruizione extra locum del patrimonio comune rappresentato dai relitti aeronavali del secondo conflitto mondiale che giacciono sui fondali della costa di Nardò

La tutela e la valorizzazione dei beni ambientali sono una fra le strategie vincenti per una corretta pianificazione dello sviluppo territoriale. Si auspica per questo una approfondita opera di ricerca volta alla individuazione e allo studio dei beni in questione, specialmente quelli facenti capo all'ambito costiero, sia emerso sia subacqueo.

L’Atlante di progetti per l’Albania è un libro di architettura che intreccia la storia, la geografia e la politica durante l’intervento italiano in Albania. Raccoglie i progetti di undici città albanesi ricostruiti e analizzati secondo i documenti d’archivio. Lo studio si estende alla condizione contemporanea, della quale l’autore propone una metodologia di analisi della forma urbana strutturata sull’analogia dell’arcipelago. Testi introduttivi di Nicola Braghieri e Anna Bruna Menghini. Cover design Saverio Rociola.

Amaç: Anal fistül iyi tanımlanmış bir hastalıktır ancak kesin bir cerrahi teknik geliştirilmemiştir. Hastanemizde 2012-2018 yılları arasında perianal fistül nedeniyle cerrahi tedavi uygulanan hastaları değerlendirmek için tek merkezli, retrospektif bir kohort çalışması yürüttük. Çalışmanın amacı, farklı cerrahi tekniklerin (Fistülotomi / fistülektomi ve seton, Video Destekli Anal Fistül Tedavisi (VAAFT), Mikro-parçalanmış yağ dokusu enjeksiyonu, Lipogems®) sonuçlarını karşılaştırmaktı.Yöntemler: Elektif cerrahi için uygun olan anal fistüllü 103 hastadan oluşan bir kohort, 2012 ve 2018 yılları arasında Ferrara'daki Sant’Anna Hastanesi’nde opere edildi. Tüm hastalara fistül traktını ve iç açıklığı belirlemek için ameliyat öncesi rektal tuşe ve manyetik rezonans görüntüleme (MRI) uygulandı. Hastalar, geçirdikleri her ameliyat için birer tane olmak üzere 4 gruba ayrıldı: Fistülotomi / fistülektomi ve seton, Video Destekli Anal Fistül Tedavisi (VAAFT), Mikro parçalı yağ dokusu enjeksiyonu, Lipogems®). Ameliyattan bir hafta sonra öznel ağrıyı değerlendirmek için sayısal derecelendirme ölçeği (NRS) kullanıldı ve sonuçlar kaydedildi. Puanlar, 0, hiç ağrı yok, ile 10, karşılaşılan en şiddetli ağrı, arasında değişmekteydi. Birincil sonlanım noktası, 1 yıllık takipte fistül rekürrensiydi. İkincil sonlanım noktası, ameliyat sonrası ağrının değerlendirilmesiydi.Bulgular: Ortanca yaşı 50 olan (aralık 21-89 yaş) 71 erkek ve 32 kadın çalışmaya dahil edildi. Bunlardan 79 hastaya yeni teşhis konulmuş, diğer 24 hasta daha önce ameliyat olmuş ve nüksetmişti. Anal fistül için toplam 118 cerrahi operasyon yapıldı. Takip süresince VAAFT sonrası 13 hastada, Mikro parçalı yağ dokusu enjeksiyonu sonrası 3 hastada, fistülotomi sonrası 4 hastada, fistülotomi sonrası 12 hastada, seton yerleştirme sonrasında 10 hastada ve Lipogems® tekniğinden sonra 8 hastada anal fistül rekürrensi gözlendi. Ameliyattan bir hafta sonra ağrı tüm hastalar tarafından 0 ile 10 arasında bir ölçekte değerlendirildi. VAAFT, mikro parçalı yağ dokusu enjeksiyonu, fistülotomi, fistülektomi, seton yerleştirme ve Lipogems® tekniği uygulanan hastaların ortalama skorları sırasıyla 1 (0- 5), 1.5 (0-8), 5 (3-8), 6.8 (5-9), 4.2 (2-6) ve 0’dı (0-2).Sonuç: Bu çalışma anal fistül yönetimindeki zorlukları ve çeşitli cerrahi seçenekleri sunmaktadır. VAAFT ve Mikro-parçalanmış yağ dokusu enjeksiyonu, anal fistül yönetiminde güvenli ve uygulanabilir seçenekler gibi görünmektedir ve kısa süreli iyileşme oranları, kontinans üzerinde kalıcı bir etki olmaksızın kabul edilebilirdir. Bununla birlikte, uzun vadeli sonuçları olan güvenilir veri yetersizliği olduğundan, bu teknikler, bu nedenle memnuniyetle karşılanmaktadır. Lipogems ® tekniği güvenli ve tekrarlanabilir bir işlemdir, ancak ne yazık ki deneyimlerimize göre, tekrarlayan sfinkterik anal fistülü olan hastalarda fistül iyileşmesini desteklememektedir. Bu tekniğin birinci basamak tedavi olarak kullanılmasını önermiyoruz., Aim: Fistula-in-ano is a well described disease but no definitive surgical technique has been developed. We conducted a retrospective cohort study in a single center to evaluate patients who underwent surgical treatment of a perianal fistula from 2012 to 2018 in our hospital. The aim of the study was to compare the outcome of different surgical techniques (Fistulotomy/fistulectomy and seton, Video-Assisted Anal Fistula Treatment (VAAFT), Micro-fragmented adipose tissue injection, Lipogems®).Methods: A cohort of 103 patients with anal fistula who qualified for elective surgery between 2012 and 2018 were recruited at Sant’Anna Hospital in Ferrara. All patients underwent a digital rectal examination and preoperative magnetic resonance imaging (MRI) to identify the fistula tract and internal opening. Patients were divided into 4 groups, one for each type of surgery they underwent: Fistulotomy/fistulectomy and seton, Video-Assisted Anal Fistula Treatment (VAAFT), Micro-fragmented adipose tissue injection, Lipogems®). Numerical rating scale (NRS) was used to assess subjective pain one week after surgery and documented. The scale ranged from 0 to 10, where 0 stands for no pain and 10 stands for worst pain ever faced. Primary end point was fistula recurrence at 1 year of follow-up. Secondary end point was evaluation of post-operative pain. Results: There were 71 males and 32 females, with a median age of 50 years (range 21-89 years). Among them, 79 patients were newly diagnosed, the other 24 patients had undergone previous surgery and had recurrence. In total, 118 surgical operation were performed for anal fistula. During the follow-up period, anal fistula recurrence was observed in 13 patients after VAAFT, 3 patients after Micro-fragmented adipose tissue injection, 4 after fistulotomy, 12 after fistulectomy, 10 after seton placement and 8 after Lipogems® technique. One week after surgery, pain was evaluated by all patients on a scale from 0 to 10. The mean scores of patients who underwent VAAFT, micro-fragmented adipose tissue injection, fistulotomy, fistulectomy, seton placement and Lipogems® technique were 1 (0-5), 1.5 (0-8), 5 (3-8), 6.8 (5-9), 4.2 (2-6) and 0 (0-2), respectively. Conclusion: This study presents the difficulties in managing anal fistulas and the variety of surgical options. VAAFT and Micro-fragmented adipose tissue injection appear to be safe and feasible options in the management of anal fistula, and short-term healing rates are acceptable with no sustained effect on continence. There is, however, a paucity of robust data with long-term outcomes. These techniques are thus welcome additions. Lipogems ® technique is a safe and reproducible procedure, unfortunately according to our experience, it does not promote fistula healing in patients with recurrent inter-sphincteric anal fistula. We do not suggest the use of this technique as a first-line treatment.

The paper is focused on a methodology carried out to approach landscape and urban design, on the base of a codified process, during an international design workshop that took place in Shkodra. The fragment comprises the mouth of the Buna River, ranging from the Albanian part of the delta to the western side of the marsh. The even landscape changes drastically every year, and often more than once, in a waterbed with houses and stables apparently floating on it. Moreover, informality along the street and the coast spread unfinished buildings, reducing the draining capacity of the area and putting in danger those who decided to move there. Here we suggest a methodology built on a system of localized interventions. As Jan Neutelings pointed out, we need to find new metaphors to read those diffused cities that do not establish a recognizable relationship between the inside and outside, figure and ground, city and countryside, as they provide green spots, which contain built spots too. His metaphor of the patchwork, deflated the idea of a comprehensive large-scale design conducted by an isolated agent. We should not forget that Albania admitted the rules of the free market only during the 90s, at a mature stage of the European liberalism, causing an explosive run from state-owned lands to fragmented private properties. Then the main issue is the distance between the author (of the plan) and the user, and the way the latter can bend and transform certain rules according to his needs. The proposed design is a soft landscape infrastructure that analyzes the overlapping artificial and natural pattern striving to enhance the natural diversity of the area, though addressing natural and human threats. The overall process is intended as an architectural toolkit that gathers three steps up to the final strategy: the formation of an analytical tableau; the visualization of a new geography; the definition of the architectural toolkit.

The paper is focused on a methodology carried out to approach landscape and urban design, on the base of a codified process, developed during my PhD research. The word shape-memory is usually attached to an alloy that “remembers” its original shape and that is able to adapt to changes. We can translate the same reasoning to certain Albanian towns and cities, looking for those historical islands, or urban facts, that each contemporary urban environment hide and overwrite. Given the real-estate turmoil of the last decades, the finding of a latent historical structure – made of edifices, squares, views, spaces, and blocks – can be crucial to keep working on the future development of Albania without loosening its contact with the past, which can be in continuity or opposition. But still well aware of it. As Jan Neutelings pointed out, we need to find new metaphors to read those diffused cities that do not establish a recognizable relationship between the inside and outside, figure and ground, city and countryside. His metaphor of the patchwork, as well as that of the archipelago (Ungers’ manifesto for Berlin) and many others, deflated the idea of a comprehensive large-scale design conducted by an isolated agent (architect, office, or institution). The proposed work will analyze eleven Albanian case studies discovering the archipelago of historical islands divided into landscape, architecture, infrastructure, urban spaces, to be the core of a pinpoint approach to urban design.

The paper explores the relation between space, both urban and rural territory arranged by Ottoman Empire, and a western power (Italy) that wanted to impose different aesthetic codes to shape new spatial structures, those derived from a complex blending of Modernism and rhetorical architecture (Ciucci, 1989). Italian modernism, at the beginning of twentieth century, molded autocratic spaces by four main design tools: pure volumes, colors and materials, rhythms, and scales (Rava, 1931). Town planning was a large-scale architectural project, of a metaphysical nature, setting a scene that was classical and abstract at the same time. The minimum fascist configuration was the cardo-decumano scheme, cris-crossed in the rectangular square (forum) where the space is enclosed with porticos. Italian new roman forums (E42, Foro Italico, Città Universitaria) served as models, re-elaborated and grafted in another cultural environment. Italian Modernism implemented a new aesthetics from the field of figurative art that made some authors address fascist architecture as a built metaphysics (Besana et al., 2002), namely history that has been freed from material implications. The classical-oriented civilization of the New Order translated the state of otherness of early century Metaphysical art into reality (Trione, 2006). The same alienation and absolute power of silence of Giorgio de Chiricos’s paintings arouses in the spaces designed for Albanian towns. Therefore, the grammar of WWII Italian urban designs in Albania arouses two main topics: How western Modernism plunged into an ottoman built environment? How do we define the grammar of spaces that constitute the body of Italian architectural identity?

In those areas where spontaneous and unauthorized construction is widespread, overwhelming the so-called good architecture. people should consider that informal phenomena concretise the tangle between the builder's own experience and his living environment. Structural or decorative elements are figured out and crafted to quickly respond to two important requests: spatial appropriation and self-representation of the owner. Often lying in the grey area of building regulations, those elements adapt their form to any concrete frame construction and to the builder's modus operandi; they absorb imperfections of the self-made; they speed up the work; they reuse or recycle existing materials. Why architecture should embrace an interest in spontaneous construction if it is produced beyond its own interests? Maybe the answer Is the question Itself.

Il nome di Brasini è legato all’Albania soprattutto per il primo grande progetto urbano degli Italiani nella capitale. Il nascente stato balcanico sarà guidato da Tirana e questa appare l’occasione più adeguata per imprimere l’immagine grandiosa dell’architettura di regime. Brasini non agisce su un tessuto consolidato, ma si pone in adiacenza ai piccoli fabbricati ottomani. Gli elaborati prodotti tra il 1925 e il 1927 mettono in evidenza la necessità di costruire un nuovo centro monumentale dal nulla; aspetto rimarcato dalle mura di cinta che racchiudono l’intero progetto e ne sottolineano la condizione di frammento urbano.