Sunday, October 23, 2011

Environments and Counter Environments. “Italy: The New Domestic Landscape”, MoMA 1972

Environments and Counter Environments. “Italy: The New Domestic Landscape”, MoMA 1972

12.11 - 20.02.2011
On November 12th, the DHUB presents Environments and Counter Environments. "Italy: The New Domestic Landscape", MoMA 1972, the second temporary exhibition of the LABORATORY OF FABRICATION. Produced by GSAPP Exhibitions at Columbia University’s Graduate School of Architecture, Planning and Preservation and first presented at Columbia’s Arthur Ross Architecture Gallery the adaptation and development of the exhibition for DHUB is the result of collaboration among DHUB, GSAPP, ViaPiranesi and the exhibition curators, Peter Lang, Luca Molinari and Mark Wasiuta. 

Under the direction and curation of Emilio Ambasz the 1972 MoMA show commissioned a series of experimental domestic “environments” and a series of film and media projects by the most vibrant Italian architects and designers of the period: Mario Bellini; Alberto Rosselli; Marco Zanuso and Richard Sapper; Joe Colombo; Gae Aulenti; Ettore Sottsass Jr.; Gaetano Pesce; Archizoom; Superstudio; Ugo La Pietra; Gruppo Strum and 9999.

A form of media archeology, Environments and Counter Environmentsassembles for the first time since 1972 these films and media projects. Long missing, the films were fundamentally important to the MoMA exhibition and to the understanding of its most ambitious and polemical claims. The films were tasked with demonstrating the potential of the environments’ capacity to alter domestic behaviors and with providing a vision of the world in which architecture would no longer be described by fixed objects and isolated elements, but would sponsor new social relations and radical new types of organization, transformation and adaptation.

Environments and Counter Environments returns to the 1972 exhibition, not as a reconstruction, but as an analytical project that attempts to reassess the visionary possibilities of architecture and design suggested by Italy: The New Domestic Landscape. Though domestic in scale the environments were urban in context and potentially revolutionary in terms of social and political practice.

From this standpoint, the exhibition presented by the DHUB engages once again with these mediatic and environmental strategies and their potential to challenge and rethink the boundaries of architecture and domestic spaces and their conditions and territories. The DHUB adaptation ofEnvironments and Counter Environments comprises four categories of material: digital projections of documentary photographs of the environments installed in the MoMA exhibition and of the introductory, explanatory film written and directed by Emilio Ambasz and screened in the original exhibition; the eight films by the architects and designers who took part in the MoMA show; original collages, drawings, photographs and models from the archives of Gae Aulenti, Joe Colombo, 9999, Ugo La Pietra, Gaetano Pesce, Gruppo Strum and Superstudio documenting the concepts and creative processes of the environments; and archival reproductions of design documents for the MoMA environments by Archizoom, Mario Bellini, Alberto Rosselli, Ettore Sottsass Jr. and Zanuso/Sapper.

Place: DHUB, Espai 0 (Montcada, 12)
Time: Tuesday to Friday from 11a.m. to 7 p.m. Saturdays, Sundays and Holidays from 11 a.m. to 8 p.m.
Price: Consult Practical Information

Credits 
Organization and Production: GSAPP, Columbia University i DHUB
Curated by: Mark Wasiuta, Luca Molinari, Peter Lang
Co-ordination of Content at the DHUB: Carlos Ipser
European Co-ordinator: Viapiranesi Srl
Co-ordination DHUB: Anna Buti, Esperança Codina
Original design of the exhibit: Mark Wasiuta
Adaptation of the design for the DHUB and production of the exhibition:Emiliana Design Studio
Graphic design: Mucho
Photographic reproduction (Arxius CSAC): Laboratori Còpia
Texts: Mark Wasiuta, Luca Molinari, Peter Lang
Translations and corrections: Glòria Bohigas, Graham Thomson
Transport: Gondrand S.p.A.
Insurance: Axa Art, MARSH, S.A.

http://www.dhub-bcn.cat/en/exhibition/Environments-and-Counter-Environments



Global Tools 1973-1975



Global Tools 1973-1975
On the Global Tools image: ARCHIZOOM ASSOCIATI: 1. Andrea Branzi – 2. Gilberto Corretti – 3. Paolo Deganello – Massimo Morozzi – 5. Dario Bartolini, Lucia Bartolini – 6. Remo Buti. CASABELLA: 7. Alessandro Mendini – 8. Carlo Guenzi – Enrico Bona – 10. Franco Raggi – 11. Luciano Boschini – 12. Riccardo Dalisi 13. Ugo La Pietra. 9999: 14. Giorgio Birelli – 15. Carlo Caldini – 16. Fabrizio Fiumi – 17. Paolo Galli – 18. Gaetano Pesce – 19. Gianni Pettena. RASSEGNA: 2O. Adalberto Dal Lago – 21. Ettore Sotsass. SUPERSTUDIO: 22 Piero Frassinelli – 23. Alessandro Magris – 24. Roberto Magris – 25. Adolfo Natalini 26. Christiano Toraldo di Francia. U.F.O.: 27. Carlo Bachi – 28. Lapo Binazzi (Patrizia Cammeo, Riccardo Forese) – 29 Titti Maschietto. ZZIGGURAT: 30. Alberto Breschi (Giuliano Fiorenzuoli) – 31 Roberto Pecchioli (Nanni Carciaghe, Gigi Gavini).

http://webcache.googleusercontent.com/search?q=cache:TA5Dc0QnIP0J:exhibitiondesignlab.tumblr.com/+9999+group+paolo+galli&cd=9&hl=en&ct=clnk&gl=th

Environments and Counter Environments at Arkitekturmuseet, Stockholm


what's up in viapiranesi >> Environments and Counter Environments at Arkitekturmuseet, Stockholm
 
03/30/2011
 
Environments and Counter Environments; Italy: the New Domestic Landscape, MoMA, 1972 inaugurates its fourth venue at Stockholm Arkitekturmuseet. We're proud to announce today Swedish opening and once more notice the steady interest around Italian radical design season and the archaeological research by Peter T. Lang, Luca Mollinari and Mark Wasiuta on the renown American exhibit by Emilio Ambasz. 
 
The contemporary exhibit - first produced by the GSAPP, Columbia University (New York) and displayed at Arthur Ross Gallery in 2008 - started a European tour which numbers Swiss Architecture Museum and Disseny Hub Barcelona among its prestigious venues. It's now the Swedish Museum of Architecture to display the unique collection of materials, especially the films, from the period (Archizoom, Sottsass, Ugo La Pietra, Superstudio, 9999, Aulenti, Zanuso, Rosselli, Bellini, Colombo,Strum, Zanuso and Sapper, etc.)...and to add its original touch and insight for Swedish audience.

Curators carry on their dialogue with architecture institutions and enrich their research and debate with new construction possibilities. The variety of the issues raised by Italy: the New Domestic Landscape allows to go into several investigations and consider the exhibit from different perspectives.

Swedish Museum of Architecture knowingly revives the "important discussion on design’s and architecture’s explorative and critically discursive role in the shaping of society."
Environments and Counter Environments is not only a survey and selection over the renowned 1972 event at MoMA, it exemplarily "contributes to the debate of the role institutions, exhibitions and curators play when it comes to conveying knowledge, discussing or assisting in knowledge production. The Swedish Museum of Architecture’s platform for architecture and design is under development and with this exhibition we aim to establish a kind of starting point for a new discussion on design and our role as an institution. It is also the beginning of a programme in which we, in different ways, will explore and elaborate on design, its function, possibilities and effects in regard to society and its development."

9999 (Giorgio Birelli, Carlo Caldini, Fabrizio Fiumi, Paolo Galli), University project. Image courtesy of Carlo Caldini Archive
Environments and Counter Environments; Italy: the New Domestic Landscape, MoMA, 1972

march 30- june 5
Arkitekturmuseet
Skeppsholmen
SE-111 49 Stockholm
Sweden
The exhibition is produced by: GSAPP, Columbia University & Arkitekturmuseet
Curators: Peter Lang, Luca Molinari, Mark Wasiuta
International project coordination: Viapiranesi_Milena Sacchi
Curator Arkitekturmuseet: Magnus Ericson
Project coordinator Arkitekturmuseet: Annelie Kurttila
Exhibition design: Mark Wasiuta, Magnus Ericson
Graphic design: Jonas Williamsson
Typeface: Recta by Aldo Novarese interpreted by Laurenz Brunner
Cover image: Superstudio, A Journey from A to B, 1972 © Superstudio Archive
Texts: Magnus Ericson, Arkitekturmuseet; Peter Lang, Luca Molinari, Mark Wasiuta, Emilio Ambasz
Translation: Hans Ohlsson, Bo Nordström
Adaption of Swedish texts: Annelie Kurttila, Magnus Ericson
Paper: Cyklus Offset 140g, Holmen Print Plus 75 60g, MySol Gloss 90g (poster)
Print: Etab, Eskilstuna; Etab, Eskilstuna; Wassberg Skotte, Stockholm (poster)

Arkitekturmuseet wishes to thank all individuals and institutions that have made this project possible:
Luca Molinari, Peter Lang, Mark Wasiuta, Milena Sacchi (ViaPiranesi), Emilio Ambasz
(Emilio Ambasz & Associates, Inc.); Gae Aulenti and Paolo Durazzo (Studio Gae Aulenti); Gloria Bianchini, Paola Pagliari and Simona Riva (CSAC, Università di Parma. Sezione Progetto); Adam Bandler (CCCP, GSAPP Exhibitions); Mario Bellini (Mario Bellini Architects); Andrea Branzi ([Archizoom] Studio Branzi); Gilberto Corretti (Archizoom); Ignazia Favata and Teresa Bocchi Galassini (Studio Joe Colombo); Pietro Derossi, David Derossi and Anna Licata (Derossi Associati); Laura Giordano (Gondrand Fine Arts Dept.); Dean
Mark Wigley (GSAPP, Columbia University); Ugo La Pietra and Simona Cesana (Ugo La Pietra Archive); Beatriz Lampariello; Gaetano
Pesce and Chrystel Garipuy (Studio Gaetano Pesce); SAM (Swiss Architecture Museum); Richard Sapper; Piero Frassinelli (Superstudio Archive); Adolfo Natalini (Superstudio); Barbara Radice; Cristiano Toraldo di Francia
([Superstudio] Luccioni Toraldo di Francia Studio); Carlo Caldini and Fabrizio Fiumi (9999); Laurenz Brunner, Paolo Grossi (Istituto Italiano di Cultura, Stockholm), Rikard Heberling, Carlos Ipser (DHUB, Barcelona), Ewa Kumlin (Form), Gunilla Lundahl, Tove Salmgren, Beate Sydhoff, Karin Wretstrand, Christina Zetterlund

http://www.ymag.it/schede.asp?id=9262

Media in Radical Architecture


Media in Radical Architecture

PROVISIONAL FUTURES, TALK ON THE ROLE OF MEDIA IN RADICAL ARCHITECTURE.
PETER LANG, www.petertlang.net
…”The future as we know it was actually defined, understood, invented and packaged in a different period. You can imagine, from a film as simple as 2001 A Space Odyssey, Kubrick 1968, everything we use, everything we do in terms of technology was already there. But I actually pretty much have been finding that already in the late 50s and early 60s everything about definitions on environment – which were being considered ‘environments’ already – were being defined in terms of proto computer language and the whole culture around in the 50s and 60s was really beginning to establish the vocabulary of things that they still hadn’t got working yet. So they didn’t have the access to computers, but they knew already what computers were going to do, they didn’t have access to the kind of computational technology that we have today, but they could already calculate the environment is going to hell. It was a period in which they, then – and this is a point of discussion that is was going around everywhere; because if you go to Istanbul in the 60s and the 70s the graphics were fantastic, if you go to Belgrade they were coming up with experimental media art – everywhere there was this extreme excitement with technologies which yet hadn’t been fulfilled. And I think in the 70s, the 80s and 90s we fulfilled those technologies and destroyed them basically. My problem with the future as a term is, the future is not a word we use, today we don’t really talk about the future, our movies today about the future are usually in the past, medieval environments (Harry Potter, Lord of the Rings) they are all ‘future’ but much more medieval stuff. So just from the very beginning, and that is the point when using the term, is that we don’t have a word as appropriate as ‘the future’ worked for those people working back in the late 50s or late 60s. So that’s a number 1 problem, and that’s a number one problem that we could begin to discuss. Does this word ‘future’ work or is there a word – perpetual or something. Right now we’re more in a ‘perpetual’ than we are in a ‘future’ …”
The 10th VictimOne time when I was talking to Dan Graham I asked him what was the most influential movie that he could remember from the 60s and he said absolutely the 10th Victim. 10th Victim is the film by Elio Petri, staring Ursula Andress and Marcello Mastroianni, done in 1965 (originally based on a book by Robert Sheckley). One of the interesting things about it is that the first part of the film was shot in New York City in the demolition area of Penn station which later was the site for Madison Square Garden. In the 10th victim you have a future society where there is no war, however to establish that, you have “hunters and hunted” game and you are allowed to kill, so you join this game you have 10 tries, 5 times you are a hunter, 5 times you are hunted. So, in the opening scene you see Urula Andress, who is being hunted, as she outsmarts her hunter and then kills him and she reaches the 10th position. She becomes a huntress and she can win a million dollars and Marcello Mastroianni becomes the victim, after he successfully made his kill. So she flies to Rome, but what she does beforehand is that she has contracted with a Chinese tea company, (its very global), to do a product promotion when she successfully kills Marcello. She flies with the film crew to Rome and they decide they want to set it up so they kill Marcello in the Coliseum. So this is the cynicism in the mid 60s about mass-consumption, mass society and of mass advertising. Now, when Ursula goes to find Marcello, he is very desolate because he cannot pay the rent and she finds him on top the very famous Libera building Palazzo dei Congressi reading a comic book. This is another thing that is very typical of Italy in the mid 60s, they invent an adult comic book culture. Here you see he is reading a comic book intensely and Ursula runs off because he does not really care about her. Later she tracks him to his house, he has this fabulous modern house, and she videotapes him live and this videotaping is being followed by the film crew that is going to lure him to the trap. There is live video, all this kind of simultaneity that is very prescient for the period, 1964-65.
Crepax - AnitaI also want to connect this to the Italian comic by Guido Crepax , beginning with the Anita series in 1965,1966. In one of the storyboards you can see the main character being seduced into the television set, which happens to be a Brion Vega model designed by Zanuso. Anita starts blurting out “piu bianco, piu bianco” (more white, more white) the advertising motif and she gets sucked into the television set. Mind you that this comic book was created about 10 years before Cronenberg’s Videodrome. She exchanges her identity: between her eye and the tv screen. Crepax also published in Linus and Alterlinus stories on Valentina, a professional fashion photographer and her boyfriend, an art critic. Valentina was like no other comic book, with totally contemporary discussions, characters having sex, going to the openings, talking about latest art work and it is just morphing into something that is visually and graphically quite striking.
And I think when you then figure out that also in 1964 Umberto Eco publishes the article “Reading Steve Canyon” in which he does an analysis of a cartoon, frame by frame, that is exactly like the film critique or analyse of the text. (Umberto Eco is one of the early promoters of semiology and semiotics). You can see how this critical culture is developing. Either in film, which is picking up this kind of mass media and hysteria and mass consumption issues, or in the cartoons which are also playing to this same sentiment. And you can see, by the way Umberto Eco is looking at graphics language, that he is dissects and deconstructs a broad range of icons in contemporary popular culture. He is developing this kind of critical vocabulary and not solely applying it to textual analysis, but applying it to comic book analysis to film analysis to consumption analysis and that become, I think, the critical tools of early 60s that allowed new forms of interpretation.
What I want to emphasize is that this was a period that was extremely aware and conscious of its evolving culture. We can also look at take a look at some of the environments that were produced for the exhibition “The New Domestic Landscape” in New York, for the Museum of Modern Art curated by Emilio Ambasz in 1972. For the exhibition Ambasz asked about a dozen Italian architects to produce “environments,” the term in English. I think it is critical to look back on definition of word environment from that period because the meaning was different then the way it is used today.
Environment, this is just out of the dictionary, means territory, surroundings, or conditions but it is also linked to computer learning, so setting the condition in which the particular activity is carried on or computing the overall structure with which the user and computer operates in an environment. And back then in the early 70s the environment was actually considered to be, or at least one of the readings that I give it, the entire system’s environment in which you can anticipate, what computers will one day be able to render in much greater complexity, thus anticipating environments in which you can use calculation and theory, but also sociology, design and urbanism, philosophy, communications, technologies and multimedia in order to establish environments. So this is what environment means to me, at least from that period, not so much kind of environment that we are settling into now. That brings me to 1973 when Global Tools is organized. Global tools was intended to be a school. 1973 signals the end of the radicalism. It is the year when Aldo Rossi opens his show in the Milano Triennale in which he produces the video “ornament as crime” and reintroduces “architecture” as we probably are all too familiar with.
Global ToolsGlobal Tools’ “Document One” is about the school and states: “the teaching program will deal with such subjects as the use of natural and artificial materials, the development of individual and group creative activities, the use and techniques of information and communication media, and the techniques of survival” and I think that we are really looking at of the premonition of the future that these guys were predicting. “a fundamental concept is that of a non-intellectual man with his age-old innate wisdom and all of the possibilities that may derive from this, even to the point of reverting to a nomadic way of life, destruction of the city, etc. Hence, the school proposes the stimulation of the creative faculties of each individual, up to now suffocated by the specialization and the craze for the efficiency.”
So, what suddenly is coming out of these things has nothing to do with technology, nothing to do with future utopias, but it is a sort of wake up call. Coincidently, 1972 is the year of the foundation of the Club di Roma, which is the first international group to publicly announce that the world environment was in danger. From the Global Tools document: “Construction is: all construction techniques linked to primitive or traditional technologies joinery, carpentry, leather, pottery, paper, glass, plastic, papier mache, weaving, spinning, communication, all activities linked to the instruments and techniques of communication.” This is the school: photography, lithography, typography, cinema, videotape, theatre, recording, music, rhythm and then survival: activities linked to survival, both physical and psychological, agricultural, hydrophonics, exploration, camping, gastronomy, meditation, contemplation, astronomy.”
Global Tools dissolved before it could have any significant impact. A few of the Superstudio members, Adolfo Natolini, Christian Toraldo della Francia and Allessandro Poli guided a class in the architecture school in Florence that lasted a couple of years called “ex-urban material culture” and they basically do an investigation, with all their students, on the disappearing generation of farmers in and outside of Tuscany, and they publish a couple of publications with this material.
One part of this research is about a peasant named Zeno. This one farmer basically lived on a plot of land that he owned and on that plot of land he had 3 or 4 shacks along the edges, which were made out of material that was found on the land and which were used during the day for working and resting. And this environment was so curated by him, as he would never buy anything new, that when a door would fall apart he would re-use it and repair it. So when you look at the door, you see 30-40 years of repair, meaning there was no original door left. Zeno could do everything for himself. This guy was completely self sufficient, today we would consider him living “off the grid”.
Where is the future going? Do we continue to live in a kind of pre apocalyptic sputnik era wonderland or do we begin to understand that future as something different where we might have to live with a much leaner set of tools? Think about where we are now, as we confront global warming, energy crises and wars over resources. In next 20 years we will not be able to imagine the future that costs more, but that costs less. I imagine we are moving towards a low-cost future.
_
On the Global Tools image: ARCHIZOOM ASSOCIATI: 1. Andrea Branzi – 2. Gilberto Corretti – 3. Paolo Deganello – Massimo Morozzi – 5. Dario Bartolini, Lucia Bartolini – 6. Remo Buti. CASABELLA: 7. Alessandro Mendini – 8. Carlo Guenzi – Enrico Bona – 10. Franco Raggi – 11. Luciano Boschini – 12. Riccardo Dalisi 13. Ugo La Pietra. 9999: 14. Giorgio Birelli – 15. Carlo Caldini – 16. Fabrizio Fiumi – 17. Paolo Galli – 18. Gaetano Pesce – 19. Gianni Pettena. RASSEGNA: 2O. Adalberto Dal Lago – 21. Ettore Sotsass. SUPERSTUDIO: 22 Piero Frassinelli – 23. Alessandro Magris – 24. Roberto Magris – 25. Adolfo Natalini 26. Christiano Toraldo di Francia. U.F.O.: 27. Carlo Bachi – 28. Lapo Binazzi (Patrizia Cammeo, Riccardo Forese) – 29 Titti Maschietto. ZZIGGURAT: 30. Alberto Breschi (Giuliano Fiorenzuoli) – 31 Roberto Pecchioli (Nanni Carciaghe, Gigi Gavini).
Note: this transcript was produced from a lecture held at Skopje (DETAILS), July, 2007.
The talk represents research conducted for an upcoming exhibition and catalogue on Multimedia to be presented in New York, Fall 2008. The transcript is a work in progress and cannot be used for publication or citations without specific permission from the author, Peter T. Lang. Thanks to Dubravka Sekulic for the initial transcription.

http://www.provisionalfutures.net/?page_id=74

The Vegetable Garden House



The Vegetable Garden House


Let’s jump a little back to the past and talk about a project which is not exactly art and not exactly gardening but which comprehends somehow parts of both disciplines.
The project was made in the 70′s by an italian collective named “9999″, which was kind of breaking out in the radical design landscape of the moment. The persons who took part in this group were Giorgio Birelli, Carlo Caldini, Fabrizio Fiumi and Paolo Galli and that’s how they describe their work:
“Our project must be understood, therefore, as the model of a real object, which must find its place in the home. It is an eco-survival device, to be reproduced on a global scale. It is itself a habitable and consumable place in accordance with the principles of the recycling of resources. Intentionally, it makes use of very simple elements: a garden, water and an air bed.”
“[through this project] Man is in direct contact with nature: he follows its growth and development; [...]. He establishes a symbiotic relationship.
[...] If technology keeps on destroying nature, the possibility of having contact with the vegetable kingdom in its integral cycle will assume even greater significance. The vegetable garden will become the sacred place of a new religion.”
The Vegetable Garden House represents, we believe, an early and important effort to re-evaluate and change the feeling that an environment transmits through the use of the natural element, in this case applied  in the interior spaces of a domestic background.
The project we are presenting was first exposed in the Museum of Modern Art, in New York, in 1972, in an exhibition called “Italy, The New Domestic Landscape”; a great happening where many of the most valuable example of italian design were shown and that, we believe, gave an important shift to Italy’s role as a cutting edge of the discipline in those years. The exhibition is currently being re-proposed in the Swiss Architecture Musem in Basel.
Group 9999 conceived this project in their early thirties, in between other performances such as a “Design Happening” on the Ponte Vecchio in Florence or interior studies such a multimedia environment for a local discothèque “Space Electronic”. They were co-founders, with Superstudio, of the Separate School for Expanded Conceptual Architecture in 1971.

http://thegcanyon.com/2010/05/06/the-vegetable-garden-house/

Saturday, October 22, 2011

gruppo 9999: giorgio birelli, carlo caldini, fabrizio fiumi, paolo galli


gruppo 9999giorgio birelli, carlo caldini, fabrizio fiumi, paolo galli
9999
The group 9999, formed in 1969 in Florence  by Giorgio Birelli, Carlo Caldini, Fabrizio Fiumi and Paolo Galli, moved within the radical climate without renouncing to architectural design which was carried out through photo montages, graphics, videos, films and happenings. The managment of Space Electonic represented an opportunità to host experimental manifestations of various types. In 1972 they were present at the show: “Italy: the new domestic landscape” and from 1973 they were part of Global Tools in which they proposed life experience and the direct experimentation of building techniques as a moment of collective self-learning.


Jim BURNS: Arthopods. 1971.
Architecture monograph.176p./pl. Softcover. 30x21 cm. Praeger, NYC, 1971. The "Arthropods", C. Price, Haus-Rucker-Co, God and C°, Missing Link Production, 9999 Group, Superstudio, Coop. Himmelblau, Hardy, Holzman & Pfeiffer, Eventsructures Research Group, A. Carlini, Experiments in Art and Technology (EAT), Ant Fram, PULSA, Archizoom, Experiments in Environment, J.M. Johansen, ONYX.


Italy: A new domestic landscape. Achievements and problems of Italian design. 1972.
Catalogue.
430p./pl., some colored. Hardcover, including mobile parts between the front cover and the transparent dust jacket. 25x20 cm. Centro Di, Florence, 1972. Published on the occasion of the show at the M.o.M.A., NYC, under the direction of Emilio AMBASZ. The new Italian Design: G. Aulenti, E. Sottsass, J. Colombo, A. Rosselli, M. Zanuso & R. Saper, M. Bellini, G. Pesce, U. La Pietra, Archizoom, Superstudio, Gruppo Sturm, E. Mari, G. Mari, 9999 Group. 

9999 Group: Ricordi di Architettura. 1972.
Artist book.
272 + 1 p./pl. Bilingual English-Italian text, photos, drawings. "Los Angeles Megastruttura; Ipotesi di Spazio; Concorso Chiesa a Catolica Italia; Arredo Urbano Ponte Vecchio Firenze; Concorso Padiglione Italiano Osaka; Space Electronic; Teatro in Relazione con le Atre Figurative; Progetto "Appollo"; Concorso Aeroporto di Genova; S-Space Controllo Albrei Sonorizzati; S-Sapce Interno Jam Scession N.1; Concorso Salvataggio di Venezia; Concorso Graz Urban Intermedia; Concorso Nuova Universita a Firenze; Concorso "Italy, a new domestic landscape" (winning project, together with G. Mari); S-Space Mondial Festival N. 1". Bound in an original handmade copper cover with embossed title and author' names on the front cover. 36.6x24.7 cm. Capponi, Firenze, Italy, 1972.
"Five years of experimental research are brought together in a single edition as witness of continuous and careful comment on cultural happenings in the attempt to make our contribution to the very formation of the Society".

http://archives.carre.pagesperso-orange.fr/Gruppo%209999.html


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