Indagine sulla nozione di fatto urbano ne L'architettura della città di Aldo Rossi

Questa tesi di dottorato di ricerca ha come oggetto la nozione di fatto urbano elaborata e presentata da Aldo Rossi nel libro L’architettura della città edito nel 1966. Ne L’architettura della città sono molteplici le definizioni e le forme con cui è enunciata la nozione di fatto urbano. Nel corso della tesi si è indagato come la costruzione nel tempo di questo concetto è stata preceduta da diversi studi giovanili intrapresi dal 1953, poi riorganizzati e sintetizzati a partire dal 1963 in un quaderno manoscritto dal titolo “Manuale di urbanistica”, in diversi appunti e in due quaderni manoscritti. Il lavoro di ricerca ha ricostruito la formulazione della nozione di fatto urbano attraverso gli scritti di Rossi. In questa direzione la rilevazione della partecipazione di Rossi a dibattiti, seminari, riviste, corsi universitari o ricerche accademiche è apparsa di fondamentale importanza, per comprendere la complessità di un lavoro non riconducibile a dei concetti disciplinari, ma alla formazione di una teoria trasmissibile. Il tentativo di comprendere e spiegare la nozione di fatto urbano ha condotto ad esaminare l’accezione con cui Rossi compone L’architettura della città, che egli stesso assimila ad un trattato. L’analisi ha identificato come la composizione del libro non è direttamente riferibile ad un uso classico della stesura editoriale del trattato, la quale ha tra i riferimenti più noti nel passato la promozione di una pratica corretta come nel caso vitruviano o un’impalcatura instauratrice di una nuova categoria come nel caso dell’Alberti. La mancanza di un sistema globale e prescrittivo a differenza dei due libri fondativi e il rimando non immediato alla stesura di un trattato classico è evidente ne L’architettura della città. Tuttavia la possibilità di condurre la ricerca su una serie di documenti inediti ha permesso di rilevare come negli scritti a partire dal 1953, sia maturata una trattazione delle questioni centrali alla nozione di fatto urbano ricca di intuizioni, che aspirano ad un’autonomia, sintetizzate, seppure in modo non sistematico, nella stesura del celebre libro. Si è così cercato di mettere in luce la precisazione nel tempo della nozione di fatto urbano e della sua elaborazione nei molteplici scritti antecedenti la pubblicazione de L’architettura della città, precisando come Rossi, pur costruendo su basi teoriche la nozione di fatto urbano, ne indichi una visione progressiva, ossia un uso operativo sulla città. La ricerca si è proposta come obiettivo di comprendere le radici culturali della nozione di fatto urbano sia tramite un’esplorazione degli interessi di Rossi nel suo percorso formativo sia rispetto alla definizione della struttura materiale del fatto urbano che Rossi individua nelle permanenze e che alimenta nella sua definizione con differenti apporti derivanti da altre discipline. Compito di questa ricerca è stato rileggere criticamente il percorso formativo compiuto da Rossi, a partire dal 1953, sottolinearne gli ambiti innovativi e precisarne i limiti descrittivi che non vedranno mai la determinazione di una nozione esatta, ma piuttosto la strutturazione di una sintesi complessa e ricca di riferimenti ad altri studi. In sintesi la tesi si compone di tre parti: 1. la prima parte, dal titolo “La teoria dei fatti urbani ne L’architettura della città”, analizza il concetto di fatto urbano inserendolo all’interno del più generale contesto teorico contenuto nel libro L’architettura della città. Questo avviene tramite la scomposizione del libro, la concatenazione delle sue argomentazioni e la molteplicità delle fonti esplicitamente citate da Rossi. In questo ambito si precisa la struttura del libro attraverso la rilettura dei riferimenti serviti a Rossi per comporre il suo progetto teorico. Inoltre si ripercorre la sua vita attraverso le varie edizioni, le ristampe, le introduzioni e le illustrazioni. Infine si analizza il ruolo del concetto di fatto urbano nel libro rilevando come sia posto in un rapporto paritetico con il titolo del libro, conseguendone un’accezione di «fatto da osservare» assimilabile all’uso proposto dalla geografia urbana francese dei primi del Novecento. 2. la seconda parte, dal titolo “La formazione della nozione di fatto urbano 1953-66”, è dedicata alla presentazione dell’elaborazione teorica negli scritti di Rossi prima de L’architettura della città, ossia dal 1953 al 1966. Questa parte cerca di descrivere le radici culturali di Rossi, le sue collaborazioni e i suoi interessi ripercorrendo la progressiva definizione della concezione di città nel tempo. Si è analizzato il percorso maturato da Rossi e i documenti scritti fin dagli anni in cui era studente alla Facoltà di Architettura Politecnico di Milano. Emerge un quadro complesso in cui i primi saggi, gli articoli e gli appunti testimoniano una ricerca intellettuale tesa alla costruzione di un sapere sullo sfondo del realismo degli anni Cinquanta. Rossi matura infatti un impegno culturale che lo porta dopo la laurea ad affrontare discorsi più generali sulla città. In particolare la sua importante collaborazione con la rivista Casabella-continuità, con il suo direttore Ernesto Nathan Rogers e tutto il gruppo redazionale segnano il periodo successivo in cui compare l’interesse per la letteratura urbanistica, l’arte, la sociologia, la geografia, l’economia e la filosofia. Seguono poi dal 1963 gli anni di lavoro insieme al gruppo diretto da Carlo Aymonino all’Istituto Universitario di Architettura di Venezia, e in particolare le ricerche sulla tipologia edilizia e la morfologia urbana, che portano Rossi a compiere una sintesi analitica per la fondazione di una teoria della città. Dall’indagine si rileva infatti come gli scritti antecedenti L’architettura della città sviluppano lo studio dei fatti urbani fino ad andare a costituire il nucleo teorico di diversi capitoli del libro. Si racconta così la genesi del libro, la cui scrittura si è svolta nell’arco di due anni, e le aspirazioni che hanno portato quello che era stato concepito come un “manuale d’urbanistica” a divenire quello che Rossi definirà “l’abbozzo di un trattato” per la formulazione di una scienza urbana. 3. la terza parte, dal titolo “La struttura materiale dei fatti urbani: la teoria della permanenza”, indaga monograficamente lo studio della città come un fatto materiale, un manufatto, la cui costruzione è avvenuta nel tempo e del tempo mantiene le tracce. Sul tema della teoria della permanenza è stato importante impostare un confronto con il dibattito vivo negli anni della ricostruzione dopo la guerra intorno ai temi delle preesistenze ambientali nella ricostruzione negli ambienti storici. Sono emersi fin da subito importanti la relazione con Ernesto Nathan Rogers, le discussioni sulle pagine di Casabella-Continuità, la partecipazione ad alcuni dibatti e ricerche. Si è inoltre Rilevato l’uso di diversi termini mutuati dalle tesi filosofiche di alcune personalità come Antonio Banfi e Enzo Paci, poi elaborati dal nucleo redazionale di Casabella-Continuità, di cui faceva parte anche Rossi. Sono così emersi alcuni spostamenti di senso e la formulazione di un vocabolario di termini all’interno della complessa vicenda della cultura architettonica degli anni Cinquanta e Sessanta. 1. Si è poi affrontato questo tema analizzando le forme con cui Rossi presenta la definizione della teoria della permanenza e i contributi desunti da alcuni autori per la costruzione scientifica di una teoria dell’architettura, il cui fine è quello di essere trasmissibile e di offrire strumenti di indagine concreti. Questa ricerca ha permesso di ipotizzare come il lavoro dei geografi francesi della prima metà del XX secolo, e in particolare il contributo più rilevante di Marcel Poëte e di Pierre Lavedan, costituiscono le fonti principali e il campo d’indagine maggiormente esplorato da Rossi per definire la teoria della permanenza e i monumenti. Le permanenze non sono dunque presentate ne L’architettura della città come il “tutto”, ma emergono da un metodo che sceglie di isolare i fatti urbani permanenti, consentendo così di compiere un’ipotesi su “ciò che resta” dopo le trasformazioni continue che operano nella città. Le fonti su cui ho lavorato sono state quelle annunciate da Rossi ne L’architettura della città, e più precisamente i testi nelle edizioni da lui consultate. Anche questo lavoro ha permesso un confronto dei testi che ha fatto emergere ne L’architettura della città l’uso di termini mutuati da linguaggi appartenenti ad altre discipline e quale sia l’uso di concetti estrapolati nella loro interezza. Presupposti metodologici Della formulazione della nozione di fatto urbano si sono indagate l’originalità dell’espressione, le connessioni presunte o contenute negli studi di Rossi sulla città attraverso la raccolta di fonti dirette e indirette che sono andate a formare un notevole corpus di scritti. Le fonti dirette più rilevanti sono state trovare nelle collezioni speciali del Getty Research Institute di Los Angeles in cui sono conservati gli Aldo Rossi Papers, questo archivio comprende materiali inediti dal 1954 al 1988. La natura dei materiali si presenta sotto forma di manoscritti, dattiloscritti, quaderni, documenti ciclostilati, appunti sparsi e una notevole quantità di corrispondenza. Negli Aldo Rossi Papers si trovano anche 32 dei 47 Quaderni Azzurri, le bozze de L’architettura della città e dell’ Autobiografia Scientifica. Per quanto riguarda in particolare L’architettura della città negli Aldo Rossi Papers sono conservati: un quaderno con il titolo “Manuale d’urbanistica, giugno 1963”, chiara prima bozza del libro, degli “Appunti per libro urbanistica estate/inverno 1963”, un quaderno con la copertina rossa datato 20 settembre 1964-8 agosto 1965 e un quaderno con la copertina blu datato 30 agosto 1965-15 dicembre 1965. La possibilità di accedere a questo archivio ha permesso di incrementare la bibliografia relativa agli studi giovanili consentendo di rileggere il percorso culturale in cui Rossi si è formato. E’ così apparsa fondamentale la rivalutazione di alcune questioni relative al realismo socialista che hanno portato a formare un più preciso quadro dei primi scritti di Rossi sullo sfondo di un complesso scenario intellettuale. A questi testi si è affiancata la raccolta delle ricerche universitarie, degli articoli pubblicati su riviste specializzate e degli interventi a dibattiti e seminari. A proposito de L’architettura della città si è raccolta un’ampia letteratura critica riferita sia al testo in specifico che ad una sua collocazione nella storia dell’architettura, mettendo in discussione alcune osservazioni che pongono L’architettura della città come un libro risolutivo e definitivo. Per quanto riguarda il capitolo sulla teoria della permanenza l’analisi è stata svolta a partire dai testi che Rossi stesso indicava ne L’architettura della città rivelando i diversi apporti della letteratura urbanistica francese, e permettendo alla ricerca di precisare le relazioni con alcuni scritti centrali e al contempo colti da Rossi come opportunità per intraprendere l’elaborazione dell’idea di tipo. Per quest’ultima parte si può precisare come Rossi formuli la sua idea di tipo in un contesto culturale dove l’interesse per questo tema era fondamentale. Dunque le fonti che hanno assunto maggior rilievo in quest’ultima fase emergono da un ricco panorama in cui Rossi compie diverse ricerche sia con il gruppo redazionale di Casabella-continuità, sia all’interno della scuola veneziana negli anni Sessanta, ma anche negli studi per l’ILSES e per l’Istituto Nazionale d’Urbanistica. RESEARCH ON THE NOTION OF URBAN ARTIFACT IN THE ARCHITECTURE OF THE CITY BY ALDO ROSSI. Doctoral candidate: Letizia Biondi Tutor: Valter Balducci The present doctoral dissertation deals with the notion of urban artifact that was formulated and presented by Aldo Rossi in his book The Architecture of the City, published in 1966. In The Architecture of the City, the notion of urban artifact is enunciated through a wide range of definitions and forms. In this thesis, a research was done on how the construction of this concept over time was preceded by various studies started in 1953 during the author’s youth, then re-organized and synthesized since 1963 in a manuscript titled “Manual of urban planning” and in two more manuscripts later on. The work of research re-constructed the formulation of the notion of urban artifact through Rossi’s writings. In this sense, the examination of Rossi’s participation in debates, seminars, reviews, university courses or academic researches was of fundamental importance to understand the complexity of a work which is not to be attributed to disciplinary concepts, but to the formulation of a communicable theory. The effort to understand and to explain the notion of urban artifact led to an examination of the meaning used by Rossi to compose The Architecture of the City, which he defines as similar to a treatise. Through this analysis, it emerged that the composition of the book is not directly ascribable to the classical use of editorial writing of a treatise, whose most famous references in the past are the promotion of a correct practice as in the case of Vitruvio’s treatise, or the use of a structure that introduces a new category as in the Alberti case. Contrary to the two founding books, the lack of a global and prescriptive system and the not immediate reference to the writing of a classical treatise are evident in The Architecture of the City. However, the possibility of researching on some unpublished documents allowed to discover that in the writings starting from 1953 the analysis of the questions that are at the core of the notion of urban artifact is rich of intuitions, that aim to autonomy and that would be synthesized, even though not in a systematic way, in his famous book. The attempt was that of highlighting the specification over time of the notion of urban artifact and its elaboration in the various writings preceding the publication of The Architecture of the City. It was also specified that, despite building on theoretical grounds, Rossi indicates a progressive version of the notion of urban artifact, that is a performing use in the city. The present research aims to understand the cultural roots of the notion of urban artifact in two main directions: analyzing, firstly, Rossi’s interests along his formation path and, secondly, the definition of material structure of an urban artifact identified by Rossi in the permanences and enriched by various contributions from other disciplines. The purpose of the present research is to revise the formation path made by Rossi in a critical way, starting by 1953, underlining its innovative aspects and identifying its describing limits, which will never lead to the formulation of an exact notion, but rather to the elaboration of a complex synthesis, enriched by references to other studies. In brief, the thesis is composed of three parts: 1. The first part, titled “The Theory of urban artifacts in The Architecture of the City”, analyzes the concept of urban artifact in the more general theoretical context of the book The Architecture of the City. Such analysis is done by “disassembling” the book, and by linking together the argumentations and the multiplicity of the sources which are explicitly quoted by Rossi. In this context, the book’s structure is defined more precisely through the revision of the references used by Rossi to compose his theoretical project. Moreover, the author’s life is traced back through the various editions, re-printings, introductions and illustrations. Finally, it is specified which role the concept of urban artifact has in the book, pointing out that it is placed in an equal relation with the book’s title; by so doing, the concept of urban artifact gets the new meaning of “fact to be observed”, similar to the use that was suggested by the French urban geography at the beginning of the 20th century. 2. The second part, titled “The formation of the notion of urban artifact 1953-66”, introduces the theoretical elaboration in Rossi’s writings before The Architecture of the City, that is from 1953 to 1966. This part tries to describe Rossi’s cultural roots, his collaborations and his interests, tracing back the progressive definition of his conception of city over time. The analysis focuses on the path followed by Rossi and on the documents that he wrote since the years as a student at the Department of Architecture at the Politecnico in Milan. This leads to a complex scenario of first essays, articles and notes that bear witness to the intellectual research aiming to the construction of a knowledge on the background of the Realism of the 1950s. Rossi develops, in fact, a cultural engagement that leads him after his studies to deal with more general issues about the city. In particular, his important collaboration with the architecture magazine “Casabella-continuità”, with the director Ernesto Nathan Rogers and with the whole redaction staff mark the following period when he starts getting interested in city planning literature, art, sociology, geography, economics and philosophy. Since 1963, Rossi has worked with the group directed by Carlo Aymonino at the “Istituto Universitario di Architettura” (University Institute of Architecture) in Venice, especially researching on building typologies and urban morphology. During these years, Rossi elaborates an analytical synthesis for the formulation of a theory about the city. From the present research, it is evident that the writings preceding The Architecture of the City develop the studies on urban artifacts, which will become theoretical core of different chapters of the book. In conclusion, the genesis of the book is described; written in two years, what was conceived to be an “urban planning manual” became a “treatise draft” for the formulation of an urban science, as Rossi defines it. 3. The third part is titled “The material structure of urban artifacts: the theory of permanence”. This research is made on the study of the city as a material fact, a manufacture, whose construction was made over time, bearing the traces of time. As far as the topic of permanence is concerned, it was also important to draw a comparison with the debate about the issues of environmental pre-existence of re-construction in historical areas, which was very lively during the years of the Reconstruction. Right from the beginning, of fundamental importance were the relationship with Ernesto Nathan Rogers, the discussions on the pages of Casabella-Continuità and the participation to some debates and researches. It is to note that various terms were taken by the philosophical thesis by some personalities such as Antonio Banfi and Enzo Paci, and then re-elaborated by the redaction staff at Casabella-Continuità, which Rossi took part in as well. Through this analysis, it emerged that there were some shifts in meaning and the formulation of a vocabulary of terms within the complex area of the architectonic culture in the 1950s and 1960s. Then, I examined the shapes in which Rossi introduces the definition of the theory of permanence and the references by some authors for the scientific construction of an architecture theory whose aim is being communicable and offering concrete research tools. Such analysis allowed making a hypothesis about the significance for Rossi of the French geographers of the first half of the 20th century: in particular, the work by Marcel Poëte and by Pierre Lavedan is the main source and the research area which Rossi mostly explored to define the theory of permanence and monuments. Therefore, in The Architecture of the City, permanencies are not presented as the “whole”, but they emerge from a method which isolates permanent urban artifacts, in this way allowing making a hypothesis on “what remains” after the continuous transformations made in the city. The sources examined were quoted by Rossi in The Architecture of the City; in particular I analyzed them in the same edition which Rossi referred to. Through such an analysis, it was possible to make a comparison of the texts with one another, which let emerge the use of terms taken by languages belonging to other disciplines in The Architecture of the City and which the use of wholly extrapolated concepts is. Methodological premises As far as the formulation of the notion of urban artifact is concerned, the analysis focuses on the originality of the expression, the connections that are assumed or contained in Rossi’s writings about the city, by collecting direct and indirect sources which formed a significant corpus of writings. The most relevant direct sources were found in the special collections of the Getty Research Institute in Los Angeles, where the “Aldo Rossi Papers” are conserved. This archive contains unpublished material from 1954 to 1988, such as manuscripts, typescripts, notebooks, cyclostyled documents, scraps and notes, and several letters. In the Aldo Rossi Papers there are also 32 out of the 47 Light Blue Notebooks (Quaderni Azzurri), the rough drafts of The Architecture of the City and of the “A Scientific Autobiography”. As regards The Architecture of the City in particular, the Aldo Rossi Papers preserve: a notebook by the title of “Urban planning manual, June, 1963”, which is an explicit first draft of the book; “Notes for urban planning book summer/winter 1963”; a notebook with a red cover dated September 20th, 1964 – August 8th, 1965; and a notebook with a blue cover dated August 30th, 1965 – December 15th, 1965. The possibility of accessing this archive allowed to increase the bibliography related to the youth studies, enabling a revision of the cultural path followed by Rossi’s education. To that end, it was fundamental to re-evaluate some issues linked to the socialist realism which led to a more precise picture of the first writings by Rossi against the background of the intellectual scenario where he formed. In addition to these texts, the collection of university researches, the articles published on specialized reviews and the speeches at debates and seminars were also examined. About The Architecture of the City, a wide-ranging critical literature was collected, related both to the text specifics and to its collocation in the story of architecture, questioning some observations which define The Architecture of the City as a conclusive and definite book. As far as the chapter on the permanence theory is concerned, the analysis started by the texts that Rossi indicated in The Architecture of the City, revealing the different contributions from the French literature on urban planning. This allowed to the present research a more specific definition of the connections to some central writings which, at the same time, were seen by Rossi as an opportunity to start up the elaboration of the idea of type. For this last part, it can be specified that Rossi formulates his idea of type in a cultural context where the interest in this topic was fundamental. Therefore, the sources which played a central role in this final phase emerge from an extensive panorama in which Rossi researched not only with the redaction staff at Casablanca-continuità and within the School of Venice in the 1960s, but also in his studies for the ILSES (Institute of the Region Lombardia for Economics and Social Studies) and for the National Institute of Urban Planning.

Drugstore Bologna. Una lettura del rapporto tra la città e la droga

The main task of this research is to investigate the situation of drugs in the city of Bologna. A first discussion pertains the method to adopt studying an ethical question as drug actually is. In fact it is widely known that drugs problem involves many political and religious considerations which are misleading in a scientific point of view. After a methodological chapter supposed to show the purpose of this research, it is discussed a logical definition of drugs. There it is examined an aristotelian definition of drugs with semantic instruments from philosophy of the language to fulfil meaning of terms. The following chapter discusses personal stories of different people involved in drug in the city, who actually represent the main characters of drug subculture. Afterwards the official statistics concerning drug enforcement is discussed and compared with a specific police action which allows to criticize that data, and to make some hypothesis about drug quantities circulating in town. Next step is investigating drugs addicted in town, with a validation technique of data base queries. The result is a statistics of users in which there is evidence of main presence of foreigners and not resident Italians who use to practice drugs in this city. Demographic analysis of identified people shows that drug addiction is widely diffused among all range of age and mainly pertains males, with an increasing trend. Then is examined the geographic distribution of users residence and use places, showing that drugs abuse is spread among all classes of population, while drugs squares are located in some points of town which realise a kind of drug area with a concentration of dealers not organised together. With some detailed queries in police reports statistics is studied some specific subject on nowadays drug abuse, the phenomenon of multi-use, the relation between drug and crime, the relation between drug and mental disease, recording some evidence in such topics. Finally a survey on city media along last two years shows the interest about this topic and gives an idea of public opinion’s information about drugs. The study refers to the city of Bologna only, and pertains data recorded along last ten years by the local metropolitan police corp.

Percorsi di gender performance: fotografia tra arte e moda dagli anni Novanta ad oggi

My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault’s expression) has now become «the zero point of the world». Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography’s strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models’ performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "Féminin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in München together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.

L'idea di metafora nell'opera di Oswald Mathias Ungers

This research focuses on the definition of the complex relationship that exists between theory and project, which - in the architectural work by Oswald Mathias Ungers - is based on several essays and on the publications that - though they have never been collected in an organic text - make up an articulated corpus, so that it is possible to consider it as the foundations of a theory. More specifically, this thesis deals with the role of metaphor in Unger’s theory and its subsequent practical application to his projects. The path leading from theoretical analysis to architectural project is in Ungers’ view a slow and mediated path, where theory is an instrument without which it would not be possible to create the project's foundations. The metaphor is a figure of speech taken from disciplines such as philosophy, aesthetics, linguistics. Using a metaphor implies a transfer of meaning, as it is essentially based on the replacement of a real object with a figurative one. The research is articulated in three parts, each of them corresponding to a text by Ungers that is considered as crucial to understand the development of his architectural thinking. Each text marks three decades of Ungers’ work: the sixties, seventies and eighties. The first part of the research deals with the topic of Großform expressed by Ungers in his publication of 1966 Grossformen im Wohnungsbau, where he defines four criteria based on which architecture identifies with a Großform. One of the hypothesis underlying this study is that there is a relationship between the notion of Großform and the figure of metaphor. The second part of the thesis analyzes the time between the end of the sixties and the seventies, i.e. the time during which Ungers lived in the USA and taught at the Cornell University of Ithaca. The analysis focuses on the text Entwerfen und Denken in Vorstellungen, Metaphern und Analogien, written by Ungers in 1976, for the exhibition MAN transFORMS organized in the Cooper - Hewitt Museum in New York. This text, through which Ungers creates a sort of vocabulary to explain the notions of metaphor, analogy, signs, symbols and allegories, can be defined as the Manifesto of his architectural theory, the latter being strictly intertwined with the metaphor as a design instrument and which is best expressed when he introduces the 11 thesis with P. Koolhaas, P. Riemann, H. Kollhoff and A. Ovaska in Die Stadt in der Stadt in 1977. Berlin das grüne Stadtarchipel. The third part analyzes the indissoluble tie between the use of metaphor and the choice of the topic on which the project is based and, starting from Ungers’ publication in 1982 Architecture as theme, the relationship between idea/theme and image/metaphor is explained. Playing with shapes requires metaphoric thinking, i.e. taking references to create new ideas from the world of shapes and not just from architecture. The metaphor as a tool to interpret reality becomes for Ungers an inquiry method that precedes a project and makes it possible to define the theme on which the project will be based. In Ungers’ case, the architecture of ideas matches the idea of architecture; for Ungers the notions of idea and theme, image and metaphor cannot be separated from each other, the text on thematization of architecture is not a report of his projects, but it represents the need to put them in order and highlight the theme on which they are based.

Definition, realization and evaluation of a software reference architecture for use in space applications

A recent initiative of the European Space Agency (ESA) aims at the definition and adoption of a software reference architecture for use in on-board software of future space missions. Our PhD project placed in the context of that effort. At the outset of our work we gathered all the industrial needs relevant to ESA and all the main European space stakeholders and we were able to consolidate a set of technical high-level requirements for the fulfillment of them. The conclusion we reached from that phase confirmed that the adoption of a software reference architecture was indeed the best solution for the fulfillment of the high-level requirements. The software reference architecture we set on building rests on four constituents: (i) a component model, to design the software as a composition of individually verifiable and reusable software units; (ii) a computational model, to ensure that the architectural description of the software is statically analyzable; (iii) a programming model, to ensure that the implementation of the design entities conforms with the semantics, the assumptions and the constraints of the computational model; (iv) a conforming execution platform, to actively preserve at run time the properties asserted by static analysis. The nature, feasibility and fitness of constituents (ii), (iii) and (iv), were already proved by the author in an international project that preceded the commencement of the PhD work. The core of the PhD project was therefore centered on the design and prototype implementation of constituent (i), a component model. Our proposed component model is centered on: (i) rigorous separation of concerns, achieved with the support for design views and by careful allocation of concerns to the dedicated software entities; (ii) the support for specification and model-based analysis of extra-functional properties; (iii) the inclusion space-specific concerns.

IGF system, CD99 and tumor-specific chromosomal translocations: evaluation of their cross-talk and definition of their role in Ewing sarcoma and prostate cancer

Aberrant expression of ETS transcription factors, including FLI1 and ERG, due to chromosomal translocations has been described as a driver event in initiation and progression of different tumors. In this study, the impact of prostate cancer (PCa) fusion gene TMPRSS2-ERG was evaluated on components of the insulin-like growth factor (IGF) system and the CD99 molecule, two well documented targets of EWS-FLI1, the hallmark of Ewing sarcoma (ES). The aim of this study was to identify common or distinctive ETS-related mechanisms which could be exploited at biological and clinical level. The results demonstrate that IGF-1R represents a common target of ETS rearrangements as ERG and FLI1 bind IGF-1R gene promoter and their modulation causes alteration in IGF-1R protein levels. At clinical level, this mechanism provides basis for a more rationale use of anti-IGF-1R inhibitors as PCa cells expressing the fusion gene better respond to anti-IGF-1R agents. EWS-FLI1/IGF-1R axis provides rationale for combination of anti-IGF-1R agents with trabectedin, an alkylator agent causing enhanced EWS-FLI1 occupancy on the IGF-1R promoter. TMPRSS2-ERG also influences prognosis relevance of IGF system as high IGF-1R correlates with a better biochemical progression free survival (BPFS) in PCa patients negative for the fusion gene while marginal or no association was found in the total cases or TMPRSS2-ERG-positive cases, respectively. This study indicates CD99 is differentially regulated between ETS-related tumors as CD99 is not a target of ERG. In PCa, CD99 did not show differential expression between TMPRSS2-ERG-positive and –negative cells. A direct correlation was anyway found between ERG and CD99 proteins both in vitro and in patients putatively suggesting that ERG target genes comprehend regulators of CD99. Despite a little trend suggesting a correlation between CD99 expression and a better BPFS, no clinical relevance for CD99 was found in the field of prognostic biomarkers.

Il teatro comunitario in Argentina: paradigmi e pratiche tra identità e memoria. Con un focus sul caso italiano

La tesi indaga l’esperienza del teatro comunitario, una delle espressioni artistiche più originali e pressoché sconosciute nel panorama teatrale novecentesco, che ha avuto in Argentina un punto di riferimento fondamentale. Questo fenomeno, che oggi conta cinquanta compagnie dal nord al sud del paese latinoamericano, e qualcuna in Europa, affonda le sue radici nella Buenos Aires della post-dittatura, in una società che continua a risentire degli esiti del terrore di Stato. Il teatro comunitario nasce dalla necessità di un gruppo di persone di un determinato quartiere di riunirsi in comunità e comunicare attraverso il teatro, con l'obiettivo di costruire un significato sociale e politico. La prima questione messa a fuoco riguarda la definizione della categoria di studio: quali sono i criteri che consentono di identificare, all’interno della molteplicità di pratiche teatrali collettive, qualcosa di sicuramente riconducibile a questo fenomeno. Nel corso dell’indagine si è rivelata fondamentale la comprensione dei conflitti dell’esperienza reale e l’individuazione dei caratteri comuni, al fine di procedere a un esercizio di generalizzazione. La ricerca ha imposto la necessità di comprendere i meccanismi mnemonici e identitari che hanno determinato e, a loro volta, sono stati riattivati dalla nascita di questa esperienza. L’analisi, supportata da studi filosofici e antropologici, è volta a comprendere come sia cambiata la percezione della corporeità in un contesto di sparizione dei corpi, dove il lavoro sulla memoria riguarda in particolare i corpi assenti (desaparecidos). L’originalità del tema ha imposto la riflessione su un approccio metodologico in grado di esercitare una adeguata funzione euristica, e di fungere da modello per studi futuri. Sono stati pertanto scavalcati i confini degli studi teatrologici, con particolare attenzione alle svolte culturali e storiche che hanno preceduto e affiancato l’evoluzione del fenomeno.

Definition of Food Safety Criteria for Bacteria Food-Borne Pathogens in Ready to Eat products

The aims of this research study is to explore the opportunity to set up Performance Objectives (POs) parameters for specific risks in RTE products to propose for food industries and food authorities. In fact, even if microbiological criteria for Salmonella and Listeria monocytogenes Ready-to-Eat (RTE) products are included in the European Regulation, these parameters are not risk based and no microbiological criteria for Bacillus cereus in RTE products is present. For these reasons the behaviour of Salmonella enterica in RTE mixed salad, the microbiological characteristics in RTE spelt salad, and the definition of POs for Bacillus cereus and Listeria monocytogenes in RTE spelt salad has been assessed. Based on the data produced can be drawn the following conclusions: 1. A rapid growth of Salmonella enterica may occurr in mixed ingredient salads, and strict temperature control during the production chain of the product is critical. 2. Spelt salad is characterized by the presence of high number of Lactic Acid Bacteria. Listeria spp. and Enterobacteriaceae, on the contrary, did not grow during the shlef life, probably due to the relevant metabolic activity of LAB. 3. The use of spelt and cheese compliant with the suggested POs might significantly reduce the incidence of foodborne intoxications due to Bacillus cereus and Listeria monocytogenes and the proportions of recalls, causing huge economic losses for food companies commercializing RTE products. 4. The approach to calculate the POs values and reported in my work can be easily adapted to different food/risk combination as well as to any changes in the formulation of the same food products. 5. The optimized sampling plans in term of number of samples to collect can be derive in order to verify the compliance to POs values selected.