Does the natural "microcosm" created by Tuber aestivum affect soil microarthropods? A new hypothesis based on Collembola in truffle culture

microarthropods play an important role in fungi dispersion, but little is still known about the interaction between truffle and soil microarthropods. The aim of this study was to investigate the ability of the truffle Tuber aestivum to modify soil biogeochemistry (i.e. create a zone of scarce vegetation around the host plant, called a burn or brûlé) and to highlight the effects of the brûlé on the soil fauna community. We compared soil microarthropod communities found in the soil inside versus outside the T. aestivum brûlé with the chemistry of soil collected inside versus outside the brûlé. The study was carried out in three Mediterranean areas, two in Italy and one in Spain. The results confirmed the ability of T. aestivum to modify soil biogeochemistry in the brûlé: pH was higher and total organic carbon tended to be lower inside the brûlé compared to outside. Soil fauna communities showed some interesting differences. Some groups, such as Symphyla and Pauropoda, adapted well to the soil; some Collembolan families, and biodiversity and soil quality indices were generally higher outside the brûlé. Folsomia sp. showed higher abundance in the soil of the brûlé compared to outside. The results suggest that some Collembola groups may be attracted by the fungal metabolites produced by T. aestivum, while other Collembola and other microarthropods may find an unfavourable environment in the soil of the brûlé. The next steps will be to confirm this hypothesis and to extend the study to other keys groups such as nematodes and earthworms and to link fluctuations of soil communities with the biological phases of truffle growth.

The Interior City Infinity and Concavity in the No-Stop City (1970-1971)

In the late 60s it had become clear how the environment technification had allowed some typologies (supermarkets, car parks, factories) to reach potentially unlimited built depths becoming, therefore, independent from the outside. The No-Stop City is born from a very simple idea: to extend this technification to the totality of built reality encompassing, not only almost all functions, but ultimately, the whole city. This operation has paradoxical effects: as architecture grows, it loses most of the features that have traditionally defined it. A dissolution by hypertrophy that gives rise to an homogeneous, concave and potentially infinite space. But beyond the pure technical feasibility, there are two key influences, seemingly contradictory, that explain this endeavor for an interior and endless city: Marxism and Pop Art. The project is, in many senses, a built manifesto reflecting the militancy of the group members within the Italian Marxism. But it is also the embodiment of the groups declared interest in Pop Art, popular culture and mass society. The cross-influence of communism and consumerism explains this "quantitative utopia" in which the society and the factory, the production and consumption, would match. A city based on the centrality of consumer products and the subsequent loss of prominence of architecture, in which the urban phenomenon, while spreading endlessly over territory, ignoring its rural exteriority, dissolves the home as a sphere of privacy, ignoring its domestic interiority. A project, also in the wake of Marshall McLuhan, that illustrates like few others the conversion of the urbane into a virtually omnipresent "condition" and that still interrogates us with questions that are, on the other hand, eternal: What is a building? What is a city?