Papers by Francesca Privitera
Reminiscenze manieriste e ricerca sull’informale caratterizzano l’evoluzione iconografica delle C... more Reminiscenze manieriste e ricerca sull’informale caratterizzano l’evoluzione iconografica delle Crocifissioni dipinte da Leonardo Savioli nel 1962. Attraverso la rappresentazione della Passione di Cristo Savioli racconta la condizione umana, la sua sofferenza ma anche la sua inesauribile e salvifica ‘disperata vitalita’.
Firenze Architettura, 2015
The meeting of Leonardo Savioli with Le Corbusier is undoubt- edly one of those that the Florenti... more The meeting of Leonardo Savioli with Le Corbusier is undoubt- edly one of those that the Florentine architect defines as fatal, in other words decisive, illuminating, necessary.
FirenzeArchitettura, 2018
Reminiscenze manieriste e ricerca sull’informale caratterizzano l’evoluzione iconografica delle C... more Reminiscenze manieriste e ricerca sull’informale caratterizzano l’evoluzione iconografica delle Crocifissioni dipinte da Leonardo Savioli nel 1962. Attraverso la rappresentazione della Passione di Cristo Savioli racconta la condizione umana, la sua sofferenza ma anche la sua inesauribile e salvifica ‘disperata vitalità’.
Mannerist reminiscences and a research on the informal characterise the iconographic evolution of the Crucifixions painted by Leonardo Savioli in 1962. Through the representation of the Passion of Christ Savioli narrates the human condition, its suffering, but also its inexhaustible and salvific ‘desperate vitality’.
Histories of PostWar Architecture , 2018
In 1932 Giovanni Michelucci visited Pompeii and Ercolano. The experience of the archaeological si... more In 1932 Giovanni Michelucci visited Pompeii and Ercolano. The experience of the archaeological site played a key role in the development of Michelucci as an architect. The deepest sense of that lesson learnt in his youth resurfaced after 1944. Involved as he was in the debate on reconstruction, for Michelucci the inseparable relation between society and the city revealed by the remains at Pompeii was an unavoidable inspiration. The writings and designs submitted for the reconstruction of the Ponte Vecchio area (1944-1945) converge towards a new urban vision, one where the memory of the past is distilled in its deepest components and substantiated in the present.
Firenze Architettura, 2018
Jean François Zevaco, attraverso un uso originale e ardito delle potenzialità estetiche e strut... more Jean François Zevaco, attraverso un uso originale e ardito delle potenzialità estetiche e strutturali del calcestruzzo, trasforma il progetto del Complesso termale di Sidi Harazem (1961) in un percorso poetico nel quale struttura-architettura e paesaggio sono intimamente concatenati: Zevaco dà forma allo spazio fisico e lo amplifica, alludendo ad un’ulteriore dimensione, infinita e astratta.
Jean Franćois Zevaco, through an original and daring use of the aesthetic and structural potential of concrete, transforms the project of the Thermal bath complex of Sidi Harazem (1961) into a poetic experience in which structure-architecture and landscape are intimately linked: Zevaco gives shape to the physical space and amplifies it, alluding to an additional dimension, infinite and abstract.
EdA. Esempi di Architettura, 2018
In order to understand the theoretical, spatial, and compositional foundations of Jean François ... more In order to understand the theoretical, spatial, and compositional foundations of Jean François Zevaco's Anfa home-studio in Casablanca (1975), we can draw on Bruno Zevi's concept of the "zero degree" in architectural writing. In prehistoric works, such as nomadic tents and villages, Zevi saw the persistence of a mode of expression — the "zero degree" — that was alternative to the rules and conventions that had limited architecture's expressive freedom from the Neolithic age to the present day (Zevi, 1994).
Focusing a "zero degree" critical perspective on the Anfa house-studio reveals the genius of Zevaco's project. Zevaco uses the syntax and grammar of the "zero degree" of prehistoric writing to return the building type of the traditional Moroccan house to the freedom of the nomadic origins of Saharan dwellings.
The "zero degree" of Zevaco's house reflects the freedom of cultural expression regained after almost fifty years as a French protectorate.
Zevaco's theoretical and design trajectory, tied to the "zero degree" concept, can still serve as a fertile ground for a contemporary architectural writing alternative to habits, dogmas, and superimposed rules, and it can preserve from prehistory the freedom of expression for architecture, and, most importantly, the individual.
Firenze Architettura, 2017
The castle of Castelgrande and the rock on which it stands constitute an inseparable architectura... more The castle of Castelgrande and the rock on which it stands constitute an inseparable architectural and geographical ensemble. The project for their rehabilitation by Aurelio Galfetti is not only a project for their conservation and restoration, but also for ascribing to them a renewed meaning. Galfetti re-establishes the meaning of this place through two actions which since its very origins have given sense to the occupation of space by man: digging and enclosing.
Firenze Architettura, 2015
Firenze Architettura
Roberto Berardi’s interpretation from the Seventies of the genesis of the Arab-Muslim house echoe... more Roberto Berardi’s interpretation from the Seventies of the genesis of the Arab-Muslim house echoes the reflection on the studies by Pierre Bourdieu. "La maison ou le monde renversé" becomes an inevitable reference, in Berardi’s thesis the origin of the house transcends the physical dimension and elevates itself to the level of a symbolical representation of analogous counter-positions that are related to the dual division Halāl/Harām.
EdA Esempi di Architettura
The images of the Città ideale and the new urban plan for Firenze prefigured by Leonardo Savioli ... more The images of the Città ideale and the new urban plan for Firenze prefigured by Leonardo Savioli during the war overlap utopia and reality. They show that the heuristic value of the utopian design is able to overcome the drama of contingency and refound the city.
Journal of Engineering and Architecture, 2015
Firenze Architettura
Attraverso l’analisi del corpus dei disegni di Giovanni Michelucci emerge il progressivo affermar... more Attraverso l’analisi del corpus dei disegni di Giovanni Michelucci emerge il progressivo affermarsi del disegno in sezione. L’esercizio della sezione si consolida a partire dal secondo dopoguerra ma è conseguenza naturale del precisarsi di un discorso iniziato venti anni prima. Le immagini, le figure e le esperienze acquisite negli anni della giovinezza riaffiorano durante gli anni della maturità, come conseguenza di una riflessione critica e come reminescenza di suggestioni di tipo figurativo. In particolare emerge la stretta relazione che lega al progetto in sezione alcuni cardini del pensiero teorico michelucciano. La linea di sezione registra il dialogo tra “dentro” e “fuori” diventando fatto architettonico ed evolvendo naturalmente da strumento di rappresentazione dell’architettura a strumento compositivo: matrice dello spazio.
Paragone Arte
Il saggio approfondisce il ruolo che la pittura prerinascimentale ha avuto nella definizione di a... more Il saggio approfondisce il ruolo che la pittura prerinascimentale ha avuto nella definizione di alcuni principi cardine dell’opera di Giovanni Michelucci, dagli anni della formazione, segnati dalla ricerca delle proprie radici culturali fino alla convergenza, negli anni '50, tra l'innovativa interpretazione dell’opera di Giotto alla Cappella degli Scrovegni proposta da Roberto Longhi e la riflessione di Giovanni Michelucci sullo spazio sacro.
Books by Francesca Privitera
"Le signe de la Médina. La morphologie urbaine selon Roberto Berardi" propose une réflexion sur... more "Le signe de la Médina. La morphologie urbaine selon Roberto Berardi" propose une réflexion sur le thème de la ville arabo- musulmane. Le point de départ est la réédition, dans son intégralité, de l'étude pionnière de Roberto Berardi sur la morphologie urbaine de la médina de Tunis, rédigé en 1969 au cours de sa collaboration avec l'Association Sauvegarde de la Médina de Tunis (ASM). Le volume retrace la généalogie de cette étude en tension entre la sociologie urbaine et l'anthropologie, en proposant un portrait sans précédent de Berardi architecte et expert de la ville islamique. De Tunis, l'horizon s’ouvre sur la médina de Fès.
Le volume se termine par des images photographiques prises par Berardi en Afrique du Nord au cours des années soixante. Ils reflètent le regard anthropologique de Berardi sur la ville et sur les territoires extra-urbains du Maghreb.
Les interprétations des médinas des deux villes maghrébines sont à la base d'un second cadre de lecture qui nous parle du thème de l’identité méditerranéenne, de ses origines, des formes de sa persistance et de son évolution, et donc du sens même de ce que l’on entend aujourd'hui par « Méditerranée ».
Attraverso l’analisi del corpus dei disegni di Giovanni Michelucci emerge il progressivo affermar... more Attraverso l’analisi del corpus dei disegni di Giovanni Michelucci emerge il progressivo affermarsi del disegno in sezione. L’esercizio della sezione si consolida a partire dal secondo dopoguerra ma è conseguenza naturale del precisarsi di un discorso iniziato circa venti anni prima. Le immagini, le figure e le esperienze acquisite negli anni della giovinezza riaffiorano durante gli anni della maturità, come conseguenza di una riflessione critica e come reminescenza di suggestioni di tipo figurativo: i dipinti dei maestri prerinascimentali, le rovine delle civiltà antiche, le macerie fiorentine della guerra. In particolare emerge la stretta relazione che lega al progetto in sezione alcuni cardini del pensiero teorico michelucciano: la fondazione etica del progetto e la centralità dell’uomo, la dialettica fra spazio interno e spazio esterno, fra architettura e paesaggio e fra architettura e città. La linea di sezione registra il dialogo tra “dentro” e “fuori” diventando fatto architettonico ed evolvendo naturalmente da strumento di rappresentazione dell’architettura a strumento compositivo: matrice dello spazio.
The essay offers a new interpretation of some architectural works and graphic paintings by Leonar... more The essay offers a new interpretation of some architectural works and graphic paintings by Leonardo Savioli dated between the 50s and the early 60s. The hypothesis of reading is that some expressions of the mature work of the Tuscan master of the twentieth century can be traced back to an attitude of the Mannerist type. Biographical elements intertwine with the studies about Vasari, Michelangelo, Pontormo and Rosso Fiorentino. The critical positions of some art and architecture historians, Argan, Briganti, Hauser, Tafuri, support the compositional reading of some recurring themes present in Savioli's mature works.
Conference Presentations by Francesca Privitera
The classic expression of Filippo Brunelleschi's sacred architecture, and the expressionist one o... more The classic expression of Filippo Brunelleschi's sacred architecture, and the expressionist one of the Church of San Giovanni Battista in Campi Bisenzio (1960-1964) and of the Sanctuary of the Beata Vergine della Consolazione in Borgo Maggiore (1961-1967) by Giovanni Michelucci merge in a vision of the sacred which transcends the confines of architecture and spreads beyond, pervading the world. This interpretation of a sacred space reminds one of Michelucci's critical reading of Brunelleschi's work, brought together in the book " Brunelleschi Mago " (1972). In Michelucci's interpretation, Brunelleschi's sacred architecture shows the intimate relationship between Man and Nature, postulated in the Christian concept of Creation. It thus manifests its own spirituality, even while keeping Man and his action in history as its benchmark. Brunelleschi's heritage, as it reaches Michelucci, is thus the meaning of a " Christian humanism " which substantiates itself in the project of a Sacred Space where the centrality of Man and transcendence are reconciled.
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Papers by Francesca Privitera
Mannerist reminiscences and a research on the informal characterise the iconographic evolution of the Crucifixions painted by Leonardo Savioli in 1962. Through the representation of the Passion of Christ Savioli narrates the human condition, its suffering, but also its inexhaustible and salvific ‘desperate vitality’.
Jean Franćois Zevaco, through an original and daring use of the aesthetic and structural potential of concrete, transforms the project of the Thermal bath complex of Sidi Harazem (1961) into a poetic experience in which structure-architecture and landscape are intimately linked: Zevaco gives shape to the physical space and amplifies it, alluding to an additional dimension, infinite and abstract.
Focusing a "zero degree" critical perspective on the Anfa house-studio reveals the genius of Zevaco's project. Zevaco uses the syntax and grammar of the "zero degree" of prehistoric writing to return the building type of the traditional Moroccan house to the freedom of the nomadic origins of Saharan dwellings.
The "zero degree" of Zevaco's house reflects the freedom of cultural expression regained after almost fifty years as a French protectorate.
Zevaco's theoretical and design trajectory, tied to the "zero degree" concept, can still serve as a fertile ground for a contemporary architectural writing alternative to habits, dogmas, and superimposed rules, and it can preserve from prehistory the freedom of expression for architecture, and, most importantly, the individual.
Books by Francesca Privitera
Le volume se termine par des images photographiques prises par Berardi en Afrique du Nord au cours des années soixante. Ils reflètent le regard anthropologique de Berardi sur la ville et sur les territoires extra-urbains du Maghreb.
Les interprétations des médinas des deux villes maghrébines sont à la base d'un second cadre de lecture qui nous parle du thème de l’identité méditerranéenne, de ses origines, des formes de sa persistance et de son évolution, et donc du sens même de ce que l’on entend aujourd'hui par « Méditerranée ».
Conference Presentations by Francesca Privitera
Mannerist reminiscences and a research on the informal characterise the iconographic evolution of the Crucifixions painted by Leonardo Savioli in 1962. Through the representation of the Passion of Christ Savioli narrates the human condition, its suffering, but also its inexhaustible and salvific ‘desperate vitality’.
Jean Franćois Zevaco, through an original and daring use of the aesthetic and structural potential of concrete, transforms the project of the Thermal bath complex of Sidi Harazem (1961) into a poetic experience in which structure-architecture and landscape are intimately linked: Zevaco gives shape to the physical space and amplifies it, alluding to an additional dimension, infinite and abstract.
Focusing a "zero degree" critical perspective on the Anfa house-studio reveals the genius of Zevaco's project. Zevaco uses the syntax and grammar of the "zero degree" of prehistoric writing to return the building type of the traditional Moroccan house to the freedom of the nomadic origins of Saharan dwellings.
The "zero degree" of Zevaco's house reflects the freedom of cultural expression regained after almost fifty years as a French protectorate.
Zevaco's theoretical and design trajectory, tied to the "zero degree" concept, can still serve as a fertile ground for a contemporary architectural writing alternative to habits, dogmas, and superimposed rules, and it can preserve from prehistory the freedom of expression for architecture, and, most importantly, the individual.
Le volume se termine par des images photographiques prises par Berardi en Afrique du Nord au cours des années soixante. Ils reflètent le regard anthropologique de Berardi sur la ville et sur les territoires extra-urbains du Maghreb.
Les interprétations des médinas des deux villes maghrébines sont à la base d'un second cadre de lecture qui nous parle du thème de l’identité méditerranéenne, de ses origines, des formes de sa persistance et de son évolution, et donc du sens même de ce que l’on entend aujourd'hui par « Méditerranée ».