Mente e acqua — Blue Mind
Lo sguardo sull’acqua -suono, odore, colore – ci induce ad assumere una default-mode che gli scienziati ipotizzano permetta al cervello di consolidare le esperienze e di prepararsi quindi a reagire agli stimoli ambientali. Questa funzione interagisce con l’ippocampo, parte essenziale allo sviluppo neuroplastico del cervello, che aiuta a creare nuovi ricordi e nuovo apprendimento. Questo è quanto afferma Wallace J. Nichols nel libro Blue Mind (state of mind) (Immagine di Borna Bevanfa on unsplash).
BLUE MIND, Wallace J. Nichols #bluemind #wallacejnichols #tempodacqua #thetimeofwater
Blue Mind is a landmark book by marine biologist Wallace J. Nichols on the remarkable effects of water on our health and well-being. Nichols revolutionizes how we think about these questions, revealing the remarkable truth about the benefits of being in, on, under, or simply near water. Combining cutting-edge neuroscience with compelling personal stories from top athletes, leading scientists, military veterans, and gifted artists, he shows how proximity to water can improve performance, increase calm, diminish anxiety, and increase professional success.
Wallace “J.” Nichols is a scientist, wild water advocate, movement-maker, and author of the New York Times best seller book – Blue Mind: The Surprising Science That Shows How Being Near, In, On, or Under Water Can Make You Happier, Healthier, More Connected, and Better at What You Do. He takes a slow, collaborative approach with leaders in businesses, government, non-profits, and academia to inspire a deeper connection with nature and inventive solutions to pressing issues. His research and expeditions have taken him to coasts and waterways across North, Central and South America, to Asia, Africa, Australia, and Europe where he continually finds that the emotional connection to waters of all kinds–rather than force of financial gain–is what keeps his colleagues and collaborators working hard to understand and restore our blue planet.
Tempo d’acqua sulla luna — The time of water on the moon
Che sulla Luna ci sia l’acqua si sa da dieci anni. Nel 2009, la sonda spaziale LCross (Lunar CRater Observation and Sensing Satellite) della NASA rilevò la presenza di acqua – sotto forma di ghiaccio – nel Polo Sud della Luna. O meglio il razzo che spingeva la sonda LCross, nell’impatto con il polo Sud della Luna, mosse detriti nei quali la sonda riuscì a individuare acqua in grani di ghiaccio. Recenti studi autorizzano a immaginare, oggi, che possa esserci una grande quantità di ghiaccio nella parte sempre in ombra del satellite. Non si tratterebbe di ghiaccio come quello terrestre, sarebbe necessario un raffinato sistema di depurazione per estrarre l’acqua mescolata ad altri elementi. (da Il post)
WATER ON THE MOON, Nasa #Nasa ##tempodacqua #thetimeofwater
A team of researchers at the University of California says that there could be way more ice water on the surface of the Moon than previously believed — and that could be a huge deal for future missions to the Moon. The researchers with this new effort believed it was likely that there was more ice on the moon than was shown during the LCROSS impact study—likely existing in shadowed craters similar to those that had been seen on Mercury (phys.org).
To find out water, the researchers carried out a parallel crater study, similar to the one they had conducted for Mercury. In this case, they studied 12,000 craters on the moon using data from the LRO. They report that they found “a similar morphological trend” in craters on the south side of the Moon, near the pole. They suggest this indicates that such craters likely harbor thick ice deposits along with other materials similar to those that are believed to exist on Mercury. The researchers suggest that if this is indeed the case, then there could be up to 100 million metric tons of ice in such craters, which they note is double the amount of previous estimates based on data from the LCROSS impact study. The researchers conclude by suggesting that future Moon missions include the use of probes that can be used to study the shaded craters to confirm their suspicions.
Mare dentro — Sea inside
Mari Verticali venne realizzata per Louis Vuitton, al padiglione Venezia, in occasione della 54 edizione della Biennale di Venezia. Plessi propone qui una nuova visione della sua flotta digitale che si sviluppa in maniera simbiotica all’interno della struttura a emiciclo del Padiglione Venezia, riempiendone gli spazi con un grandioso concerto d’acque in continuo movimento e divenire. Sei imbarcazioni in acciaio nero emergono dall’oscurità mentre sui video schermi delle chiglie sono evocati suoni, correnti e flutti di simbolici mari. (Tratto da www.fabrizioplessi.net).
MARI VERTICALI, Fabrizio Plessi #mariverticali #fabrizioplessi #tempodacqua #thetimeofwater
In 2005 Fabrizio Plessi creates an updated version of Mare Verticale at the entrance to the Biennial Gardens: a cylinder that appears to emerge from the Venetian lagoon at a height of 44 meters, the symbol of the same Biennial of Art. In 54th Venice Biennale of 2011, Venice Pavillion is completely dedicated to him with video-installations Mari Verticali with big steel black boats, with a permanent and exciting water concert.
Fabrizio Plessi has been fascinated always by water, a recurring theme which has become the focus of his artwork in the form of installations, films, videotapes and performances.In 1970 his work was exhibited at the experimental Pavilion of the Biennial of Venice and again in 1972. His works werw installed in all the world. During the 1980’s Plessi begins to experiment with video, focusing on the illusions created between representation and reality of liquid elements which are amplified by the extreme technology of mechanical and electronic reproduction. More recently his artistic endeavours have drawn him closer to the city of Venice, where water – focal point of his art – plays a dominant role. In 2003, Fabrizio Plessi creates an installation for the Peggy Guggenheim Collection: Digital Fall one of the most technologically advanced sculptures in the world, fully equipped with constant air-control, an ultra-flat Led screen and full colour display.
The Twist: ponte e museo — Bridge and museum
Una galleria, un dentro scopito come se l’acqua fosse passata e avesse scavato il tunnel. Un ponte sopra il Randselva a Jevnaker, in Norvegia. Progettata da Bjarke Ingels Group (BIG), la struttura rivestita in alluminio unisce i fronti dei fiumi nord e sud nel campus del Kistefos Sculpture Park.
THE TWIST, Biarke Ingels #big #tempodacqua #thetimeofwater
A sinuous new gallery and bridge reaches across the Randselva River in Jevnaker, Norway. Designed by Bjarke Ingels Group (BIG), the aluminum-clad structure joins north and south river fronts on the campus of Kistefos Sculpture Park. 15,000 square feet of space allows visitors to explore Kistefos’s large art collection while also taking in the surrounding landscape through floor-to-ceiling windows. The Twist opened to the public on September 18th, with an exhibition featuring the work of conceptual artist Martin Creed and painter Howard Hodgkin. Kistefos Sculpture Park has ticketed admission, which includes entry to The Twist, and is open seasonally from the end of May to mid-November. (via Design Milk)
BIG first won an international competition to create the bridge in 2015. The 1,000-square-meter (10,764-square-foot) aluminum-clad bridge connects the two river banks, with its twisted form allowing it to move from a lower to a higher elevation with ease. In fact, this uneven elevation between the two sides of the river created the problem that then transformed into the ingenious design known as The Twist. The bridge is just the latest art piece to appear at the Kistefos Museum and Sculpture Park. The addition of The Twist increases accessibility and will also allow for even more exhibitions within the museum (mymodernmet.com).
Acqua urbana — Ground water
Le acque di Milano sono le protagoniste del libro di Michele Serra “Sull’acqua”, edito da Aboca nel 2018. Lo sviluppo industriale, la fortuna dei grandi fondi agricoli lombardi sono legati alll’acqua. Dopo decenni di prelievo forzato industriale, le acque di Milano giacciono nel sottosuolo della città. Il racconto prende spunto dall’attività industriale delle Acciaierie e Ferriere Lombarde Falck a Sesto San Giovanni, che si alimentavano dalla falda acquifera della Pianura Padana, “l’anima rigurgitante dell’economia lombarda” (articolo in askanews)
SULL’ACQUA, Michele Serra #sullacqua #micheleserra #tempodacqua #thetimeofwater
The book “Sull’acqua”, written by Michele Serra, is a text at once poetic and philosophical on the universal and critical theme of water, the essential element in the life of individuals and of societies, now under the real, keen threat of environmental pollution, that has been able to build dispersion and voracious economic interests.
Michele Serra writes: “The idea of something coming from below is no less fascinating than something looming from above; if the ancients were afraid that the sky would fall, I imagined an event for us moderns in which the water comes up from the depths to remind us of our weaknesses as well as our duties […] It goes without saying that this isn’t just a poetic musing. Climate change reflected in water levels […] is one of the great future problems for humanity, and water consumption is a clear urgent need […] That which emerges from below contains a revelation, something that we had forgotten, neglected […] Sull’acqua is also an unspoken prayer: may we never be without water, and may its level remain high enough for our survival, neither above that nor below.”
Il ponte di Seonyudo — the footbrigde of peace
Il ponte della pace di Seoul (realizzato nel 2002) collega la megalopoli con l’isola Sunyudo sul fiume Han. Rudy Ricciotti interpreta lo spazio di connessione affrontando le scelte della conservazione e della demolizione, definendo con l’arco in cemento un nuovo spazio che concilia la città con il fiume.
SEONYUDO BRIDGE, Rudy Ricciotti #seonyudobridge @rudyricciotti
The Footbridge of Peace is a gift to the Republic of Korea from France and links Seoul with Seonyudo Island, which is being turned into a park and visitor attraction. The arch bridge has a constant depth of 1.3 m over a 110-m span and was built using a cementitious material called Ductal, that is reinforced with steel fibres and/or synthetic fibres. The bridge was constructed by VSL International and was erected as six precast segments.
Rudy Ricciotti is a French architect born in 1952. Architect and engineer, he associates “strength of creation and true construction culture”.
His projects are marked of politic, technic, poesy, culture and materiality. He is the man of “doing” (the construction) and the material (the concrete); his projects make a constant tribute to specific knowledges, which of engineers first and then numerous and precious of the workers.
Una barca a vela in città — A sail boat in town
Cinque piattaforme e piloni di varia altezza: così è stato pensato il Circle Bridge che assomiglia molto a un barca a vela il ponte. È stato disegnato (2015) da Olafur Eliasson a Copenhaghen. Collega due quartieri della città, ma è molto più di un transito. È un punto d’incontro e di osservazione lungo il lungomare per riflettere, sperimentare nuove visioni e prospettive. Come in barca a vela per mare (immagini olafureliasson.net)
CIRKELBROEN, Olafur Eliasson #circlebridge
The footbridge “Cirkelbroen” consists of five interconnected circular platforms in various sizes, each with a tall mast designed to resemble ship masts with reference to the boats that sail the Copenhagen waterways. Copenhagen’s harbor was once a center of maritime activity, and Cirkelbroen is a testimony to that history. More than 110 tensioned wires are threaded between the base of the bridge and the tips of five poles. “While working on the bridge, I remembered the fishing boats I saw as a child in Iceland,” said Eliasson. “Fish cutters were often moored in the harbor right next to each other, and sometimes it seemed as if you could actually walk across the harbor by going from boat to boat.”
Olafur Eliasson’s art is driven by his interests in perception, movement, embodied experience, and feelings of self. He strives to make the concerns of art relevant to society at large. Art, for him, is a crucial means for turning thinking into doing in the world. Eliasson’s works span sculpture, painting, photography, film, and installation. Not limited to the confines of the museum and gallery, his practice engages the broader public sphere through architectural projects, interventions in civic space, arts education, policy-making, and issues of sustainability and climate change.
L’acqua che unisce — Linking water
Sono tre edifici di vetro, acciaio e legno, due per le collezioni, uno per le mostre e si snodano lungo un percorso fatto di acqua, canali e verde, uniti da un canale ricoperto da un grande tetto in vetro. Li ha firmati Renzo Piano, nel 2012 e compongono l’Astrup Fearnley Art Museum di Oslo in Norvegia (foto © Nic Lehoux).
ASTRUP FEARNLEY MUSEET – OSLO, Renzo Piano #astrupfearnleymuseum #renzopiano #tempodacqua #thetimeofwater
The Astrup Fearnley Museet, designed by Renzo Piano Building Workshop in collaboration with Narud-Stokke-Wiig, (2012) has opened on a stunning waterfront site in the Tjuvholmen neighborhood of Oslo. The €90 million, 7000 square meter structure provides space for the museum’s collection, temporary exhibitions, a gift shop and cafe (archdaily.com).
Astrup Fearnley Museum starts outside: the park is an organic game of canals, bridges and lawns where sculptures of the Selvaag collection are displayed in the nature and in the Piazza. Once inside, the visitors experience the temporary exhibition of the Astrup Fearnley Museet in a big double-height space, where natural light is filtered from a glass roof. Level by level, a sequence of smaller art spaces are linked by a bridge, leading the view towards the park and the Piazza, and connecting the inside with the outside. On the opposite side of the canal there are two more spaces for art on two levels, showing the Museum’s permanent collection. Slender steel columns support the sail-form, glass roof that provides shelter to the weathered timber cladding, while illuminating the interior’s extensive collection of contemporary art with a soft, natural light. This is like a little city where the visitor can be in contact with nature, take a swim, enjoy urban life, while contemplating art (archdaily.com).
Frangiflutti intelligenti — Smart breakwater
Si chiama Float Lab ed è una piattaforma galleggiante ormeggiata nel Middle Harbor Shoreline Park di Oakland, progettata dal California College of Arts. Funziona come frangiflutti e la sua forma è stata pensata per soddisfare le diverse esigenze dell’habitat marino, per spugne, nudibranchi, crostacei, ostriche, cozze e ricci di mare. La parte superiore ha picchi e vallate, per la formazione di pozze di marea. La parte inferiore ha topografie diverse i diversi tipi di invertebrati (da un articolo in deezen.com).
FLOAT LAB, California College of Arts #deezen #ArtsArchitecturalEcologieslab
The Float Lab will test solutions for enhancing marine habitat and alleviating coastal erosion. The substrate is designed to create a range of scales of habitats for marine invertebrates, creating small pockets of space that protect smaller creatures from predators and this strengthens the food chain and increases biodiversity.In large masses, this biological growth can help attenuate wave action and reduce coastal erosion – one of the primary impacts of climate change and sea-level rise
Float Lab, formally called the Buoyant Ecologies Float Lab –moored in Oakland’s Middle Harbor Shoreline Park, is a structure serving as both a research platform and demonstration project. The structure was created by a team of artists, designers and architects from the California College of the Arts (CCA). The floating structure acts as a breakwater that helps block waves and make the water calmer. The Float Lab, a cutting-edge prototype for an ecologically productive floating breakwater, merges expertise from design, advanced digital manufacturing and marine ecology to imagine a new kind of architecture for climate adaptation.
Ali sull’acqua — Wings on the waves
Il ponte ciclo-pedonale di Lille Langebro si aggiunge agli altri elementi d’architettura che caratterizzano il waterfront di Copenhagen. La geometria curva del ponte assconda le mura storiche e il fossato dello Christianshavn, sull’altra riva. Le ali che modellano la sagoma del ponte determinao straordinari effetti di luce e di oombre, offrendo una vista spettacolare quando i due monconi si aprono per far passare le navi.
LILLE LANGEBRO, Wilkinson Eyre #wilkinsoneyre #lillelangebro
The Lille Langebro cycle and pedestrian bridge enhances Copenhagen’s waterfront. It seamlessly connects the vista down Vester Voldgade from the City Hall to the harbour and onward across the water to Christianshavn on the Langebrogade quayside. The bridge follows an elegant curve in plan which aligns with and continues the sweeping ramparts and moat of the historic Christianshavn beyond the opposite bank. The structure is arranged as a triangular wing on either side of the bridge that dips below the deck at the abutments then gradually soars up at midspan in a sinuous curve before falling again. (www.wilkinsoneyre.com).
WilkinsonEyre is one of the world’s leading architectural practices with a portfolio of national and international award-winning projects. Since our inception in 1983, we have built a portfolio of bold, beautiful, intelligent architecture in sectors as diverse as culture, sport and leisure, education, infrastructure, residential, office and large-scale masterplanning. Project highlights include Guangzhou International Finance Center – one of the tallest buildings in the world, the giant, cooled conservatories for Singapore’s Gardens by the Bay, the restoration of Sir Giles Gilbert Scott’s Battersea Power Station, and the acclaimed temporary structure of the London 2012 Olympic Games Basketball Arena. Current projects include the Compton and Edrich Stands at Lord’s, a new Centre for Horticultural Science and Learning for RHS Garden Wisley and towers in London, Sydney and Toronto.
Oceani acidi — Acidic oceans
Gli oceani ci aiutano a ridurre la CO2 che resta in atmosfera in seguito alle nostre emissioni: ne assorbono più di un quarto. Ma in questo processo il pH si abbassa e gli organismi marini con guscio calcareo ne soffrono. La maggior parte del plancton ad esempio che è alla base di tutta la catena alimentare in mare. La rivista internazionale Nature Climate Change ha, di recente, pubblicato uno studio sugli effetti dell’assorbimento della CO2 negli strati più profondi dell’oceano, scegliendo come campione il mar del Giappone per le caratteristiche assimilabili a quelle di un piccolo oceano, rivelando che l’acidificazione è arrivata anche negli strati più profondi (dal blog di Le Scienze, edizione italiana di Scientific America, articolo di Antonello Pasini. Img sopra da The Economist).
ACIDIC OCEAN, Nature Climate Change #natureclimatechange #lescienze #theeconomist #tempodacqua #thetimeofwater
Also “The Economist” re launches the news: the world’s oceans are getting warmer, stormier and more acidic. They are becoming less productive as the ecosystems within them collapse. Melting glaciers and ice sheets are causing sea levels to rise, increasing the risk of inundation and devastation to hundreds of millions of people living in coastal areas. (immagine da climatesentral.org)
On September 25, 2019, the IPCC will release its Special Report on the Ocean and Cryosphere in a Changing Climate. The Intergovernmental Panel on Climate Change (IPCC) has released the Special Report on the Ocean and Cryosphere in a Changing Climate. More than 100 leading scientists from 36+ countries prepared the report, citing nearly 7,000 research publications. Here’s what to look for: the latest science on how climate change affects the ocean, coastal, polar and mountain regions—as well as the communities that depend on them; a focused chapter on sea level rise and its ramifications for low-lying islands; a look at climate extremes and “abrupt changes”, including tropical storms and the jet stream; options for risk management, adaptation, and sustainable development.
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Dentro l’acqua Mazatlán Aquarium — Inside Blue
Il progetto dell’Acquario di Mazatlán, in Messico, uno dei più grandi dell’America Latina, pensato da Tatiana Bilbao Estudio, si pone l’obiettivo di sfruttare lo spazio naturale, culturale e pubblico che già esiste. Per i turisti, l’acquario è un’opportunità per esplorare e sperimentare gli ecosistemi marini del Golfo della California. Per i abitanti del luogo, è uno sguardo alle meraviglie del proprio ambiente. La dimensione dei luoghi si misura attraverso la relazione con l’acqua, dentro e fuori l’acquario.
ACQUARIO MAZATLÁN, Tatiana Bilbao #acquariomazatlan #tatianabilbao #tempodacqua #thetimeofwater
The aquarium project was a part of a large-scale plan to revitalize the Parque Central in Mazatlán, Mexico. The project, designed and overseen by Tatiana Bilbao Estudio, seeks to build onto the already existing natural, cultural, and public space in a way that highlights its global quality and uniqueness. For visitors, the aquarium is an opportunity to explore and experience the marine ecosystems of the Gulf of California. For locals, it’s a look into the marvels of their own backyard (da un articolo in archdaily.com).
Born in Mexico City in 1972. Graduated from Architecture and Urbanism at Universidad Iberoamericana in 1996, Tatiana Bilbao, in 1998, won honorable mention for her career and also appreciation for the best thesis of the year. Advisor for Urban Projects at the Urban Housing and Development Department of Mexico City in 1998-99. As advisor for the government, Tatiana was member of the urban council of the city. In 1999 joins and co-founds LCM S.C. In 2004 starts Tatiana Bilbao S.C. with projects in China and Spain, France and Mexico. In 2005 becomes design professor at Universidad Iberoamericana. Awarded with the Design Vanguard for one of the top 10 emerging firms of the year in 2007 by Architecture Record. Visiting professor at Andres Bello University in Santiago de Chile in Autumn 2008. Named as Emerging Voice by the Architecture League of NY in 2009. In 2010 two partners joined David Vaner and Catia Bilbao. In December 2010 3 projects where acquired by the Centre George Pompidou in Paris, France to be part of their Architectural Permanent Collection.
Il fiume e il museo — The river and the town
Il fiume Tago è l’ispiratore del museo disegnato da Amanda Levete e dal suo studio AL_A , per riconnettere il tessuto storico di Lisbona con il suo fiume, per molto tempo separati della ferrovia e della strada ad alto scorrimento, sfruttando la morfologia del sito e creando 7000 metri quadrati di spazio pubblico, in dialogo tra patrimonio culturale e futuro della città contemporanea (© Melania Bisegna).
MAAT LISBONA, Amanda Levete #maat #amandalevete #ala #tempodacqua #thetimeofwater
MAAT, with an expressive architectonic language, rises from the ground with zoomorphic forms and affords us new overviews of Lisbon and the Tagus River. The roof is designed as an outdoor room with 7,000 m2, and linked to the ground by soft slopes that transform it into a large square (© Francisco Nogueira).
Amanda Levete CBE is a RIBA Stirling Prize winning architect and founder and principal of AL_A, an international award-winning design and architecture studio. Since its formation in 2009, AL_A has refined an intuitive and strategic approach to design. Recently completed projects include the Victoria & Albert Museum Exhibition Road Quarter (2017) in London; MAAT (2016), a Museum of Art, Architecture and Technology in Lisbon; Central Embassy (2017), a 1.5 million sq ft luxury shopping mall and hotel in Bangkok; and a 13-hectare media campus masterplan and a 37,700m2 headquarters building for Sky (2016) in London. Ongoing commissions around the world include the transformation of the flagship Galleries Lafayette department store on Boulevard Haussmann in Paris; a new centre for the cancer care charity Maggie’s in Southampton; two new buildings for Wadham College at the University of Oxford; and the Monte St Angelo subway station in Naples.
Oceani — Oceans
“Senza l’interdisciplinarietà non esisterebbe l’opera. (…) parlo dell’esigenza di sposare i pensieri e di muoversi tra pensieri e discipline. (…) Sono sincretico: vedo i colori attraverso i suoni, continuamente. Le mie composizioni derivano sempre da immagini.” Ezio Bosso in un intervista rilasciata a Catterina Seja per arskey (immagine
OCEANS, Ezio Bosso #oceans #eziobosso #tempodacqua #thetimeofwater
In 2011 Ezio Bosso has been the first not Australian composer awarded in Melbourne with the prestigious Green Room Award, as best composition and performance for his I symphony Oceans. Over the years, the curiosity about other forms of musical expression and artistic works and the “old” obsession to understand how things works led him to collaborate with many different musicians and artists. Among others: Pino Daniele, Billy Corgan (Smashing Pumpkins), Gustavo Beytelmann (Gotan Project), Journalist Roberto Saviano, the rapper Lucariello, the painters Jean Michelle Folon, David Tremlett.
Ezio Bosso is a London-based composer, conductor and pianist. He has appeared in such concert venues as Royal Festival Hall in London, Carnegie Hall in New York, Sydney Opera House, Teatro Colón in Buenos Aires, Auditorium Parco della Musica in Rome, Teatro Regio in Turin, Palacio de las Bellas Artes in Mexico City and elsewhere. Bosso is a recipient of a number of prestigious awards; his music is admired in various theatres and appreciated by contemporary dance companies (he has collaborated with such choreographers as Christopher Wheeldon, Edwaard Liang and Rafael Bonachela), is featured in films by Gaby Dellal and Gabriele Salvatores. Bosso’s music was presented by Ailey II (American Dance Theater) in Vilnius Festival 2012. In February 2016, he shared the Lithuanian National Philharmonic stage with the Lithuanian Chamber Orchestra and was enthusiastically received by the Lithuanian audience. The charismatic Krylov and Bosso have been collaborating since 2014 when the violin virtuoso and London Symphony Orchestra performed Bosso’s Fantasy for violin and orchestra.
Londra sommersa — Floaded London
Lo studio Squint/Opera ha riproposto una serie di scenari che ritraggono Londra nel 2090, quando i cambiamenti climatici avranno lasciato gran parte della città sott’acqua. “Il mondo è sull’orlo di un potenziale disastro cllimatico; queste immagini sono oggi più significative e rilevanti che mai.” ha affermato Alice Britton direttore di Squint/Opera. Il progetto Flooded London, creato per la prima volta nel 2008, e pubblicato recentemente da Dezeen, mostra come le persone potrebbero essere in grado di adattarsi all’aumento catastrofico delle temperature e dei livelli del mare. (immagini tratte dal sito Deezen.com).
FLOADED LONDON, Squint/Opera #Flooden London #Squint/Opera #tempodacqua #thetimeofwater
The Flooded London series shows how citizens might adapt to catastrophic rising temperatures and sea levels. “The images, which Squint/Opera describes as “curiously utopian”, were initially created for a 2008 exhibition in London and depict a vision of the city in 2090. “The world is currently standing on the verge of a potential climate catastrophe and therefore these images have become more relevant than ever,” said Squint/Opera founding director Alice Britton, explaining why the studio has decided to reissue the images. “Last month (June 2019) the UK became the first country to declare a climate emergency, and we felt it was the right time to revisit these images to help Londoners imagine how the seemingly abstract concept of climate change might affect their everyday lives.
Squint/Opera is a creative digital studio and consultancy. They are thinkers, designers, makers and doers. Their mission is to make places better – to inspire and expand the ways in which people imagine and interact with the physical world. They work with ambitious partners to plan, articulate, promote and execute big ideas that make a positive impact on the world’s destinations, spaces and cities. The brand identities, immersive experiences, creative content and digital products turn complex concepts into beautiful, playful and emotive stories. And while they like to have fun and do great work, they mean business. All their work is rooted in research and made for measurable impact.
Il senso del mare di Melville — Melville’ sea- feeling
“I have a sort of sea-feeling here,” Melville wrote of Arrowhead, the Massachusetts farm where he wrote “Moby-Dick.”
Se è vero che Hermann Melville ebbe l’idea di Moby Dick durante un viaggio trans-oceanico, tuttavia scrisse la maggior parte del romanzo ad Arrowhead, nella sua fattoria. In un recente articolo pubblicato a luglio sul New Yorker, l’autore, Carson Ellis, traccia un percorso della vita di Melville, attraverso i luoghi e le persone. L’acqua (visse nel villaggio di Lansingburgh, sul fiume Hudson) e il mare furono alla base della sua formazione emozionale e sensoriale. In primo piano i viaggi intrapresi dallo scrittore: il primo, nel 1839, da New York a Liverpool/Londra che ispirò il romanzo “Redburn: il suo primo viaggio”; nel 1841, arruolato come marinaio nella nave baleniera da New Bedfort nel Massachusetts, facendo rotta per l’Oceano Pacifico, il secondo viaggio: un’esperienza importante riportata in “Taipi” e “Omoo”. Infine, dopo quattro mesi a Honolulu, il rientro in patria, a Boston, come membro dell’equipaggio della fregata americana United States (narrata in “Giacchetta bianca o il mondo visto da una nave daguerra”). (immagine dal sito The New Yorker)
SEA FEELING, HERMANN MELVILLE #Herman Melville #sea feeling #New Yorker #tempodacqua #thetimeofwater
Moby-Dick” on land, in a valley, on a farm thet he named Arrowhead.
Herman Melville seems to have got the idea to write a novel about a mad hunt for a fearsome whale during an ocean voyage, but he wrote most of “Herman Melville was born in New York City in 1819. He worked as a crew member on several vessels beginning in 1839, his experiences spawning his successful early novels Typee (1846) and Omoo (1847). Subsequent books, including his masterpiece Moby-Dick (1851), sold poorly, and by the 1860s Melville had turned to poetry. Following his death in New York City in 1891, he posthumously came to be regarded as one of the great American writers.
Alla Biennale di Architettura di Pisa, la mostra-Pangea, il continente diventato Isola, traccera l’Atlante delle mutazioni del “tempodacqua” attraverso l’arte, l’architettura, la fotografia.
L’apertura totale, l’assenza di limite concettuale caratterizza la manifestazione pisana che vuole porsi come luogo di dibattito, dove le esperienze si incontrano per dare vita a una piattaforma che genera significati nuovi e per attribuire all’architettura un ruolo essenziale nella valorizzazione, nell’esaltazione o nella mitigazione, quando sia necessario, dell’evoluzione storica dell’Acqua.
Per questo la Biennale e il suo direttore, Alfonso Femia, hanno scelto di aprire il confronto con personaggi autorevoli per indagare l’architettura d’Acqua su diversi livelli di complessità.
Ai momenti di confronto in calendario si aggiungano i preziosi contributi, attraverso le videointerviste di 500x100Talk, di:
LUISA BADIA
STEFANO BOERI
ANDREA BOSCHETTI
TINA DASSAULT
DIDIER FIUZA FAUSTINO
FREDERIC CHARTIER, PASCALE DALIX
ICO MIGLIORE
GIOVANNI MULTARI
MARIO PATERNOSTRO
MARC PIETRI
RUDY RICCIOTTI
JACQUES ROUGERIE
CLEMENT WILLEMIN, VERDIANA SPICCIARELLI