Effetti del chitosano su composti polifenolici in colture cellulari di vite: aspetti molecolari e metabolici

Polyphenols, including flavonoids and stilbenes, are an essential part of human diet and constitute one of the most abundant and ubiquitous group of plant secondary metabolites. The level of these compounds is inducible by stress or fungal attack, so attempts are being made to identify likely biotic and abiotic elicitors and to better understand the underlying mechanism. Resveratrol (3,5,4’-trihydroxystilbene), which belongs to the stilbene family, is a naturally occurring polyphenol, found in several fruits, vegetables and beverages including red wine. It is one of the most important plant polyphenols with proved benefic activity on animal health. In the last two decades, the potential protective effects of resveratrol against cardiovascular and neurodegenerative diseases, as well as the chemopreventive properties against cancer, have been largely investigated. The most important source of polyphenols and in particular resveratrol for human diet is grape (Vitis vinifera). Since stilbenes and flavonoids play a very important role in plant defence responses and enviromental interactions, and their effects on human health seem promising, the aim of the research of this Thesis was to study at different levels the activation and the regulation of their biosynthetic pathways after chitosan treatment. Moreover, the polyphenol production in grape cells and the optimisation of cultural conditions bioreactor scale-up, were also investigated. Cell suspensions were obtained from cv. Barbera (Vitis vinifera L.) petioles and were treated with a biotic elicitor, chitosan (50 μg/mL, dissolved in acetic acid) to promote phenylpropanoid metabolism. Chitosan is a D-glucosamine polymer from fungi cell wall and therefore mimes fungal pathogen attack. Liquid cultures have been monitored for 15 days, measuring cell number, cell viability, pH and grams of fresh weight. The endogenous and released amounts of 7 stilbenes (trans and cis isomers of resveratrol, piceid and resveratroloside, and piceatannol), gallic acid, 6 hydroxycinnamic acids (trans-cinnamic, p-coumaric, caffeic, ferulic, sinapic and chlorogenic acids), 5 catechines (catechin, epicatechin, epigallocatechin-gallate (EGCG), epigallocatechin and epicatechin-gallate) and other 5 flavonoids (chalcon, naringenin, kaempferol, quercetin and rutin) in cells and cultural medium, were measured by HPLC-DAD analysis and total anthocyanins were quantified by spectrophotometric analysis. Chitosan was effective in stimulating trans-resveratrol endogenous accumulation with a sharp peak at day 4 (exceeding acetic acid and water controls by 36% and 63%, respectively), while it did not influence the production of the cis-isomer. Compared to both water and acetic acid controls, chitosan decreased the release of both trans- and cis-resveratrol respect to controls. No effect was shown on the accumulation of single resveratrol mono-glucoside isomers, but considering their total amount, normalized for the relative water control, it was possible to evidence an increase in both accumulation and release of those compounds, in chitosan-treated cells, throughout the culture period and particularly during the second week. Many of the analysed flavonoids and hydroxycinnamic acids were not present or detectable in trace amounts. Catechin, epicatechin and epigallocatechin-gallate (EGCG) were detectable both inside the cells and in the culture media, but chitosan did not affect their amounts. On the contrary, total anthocyanins have been stimulated by chitosan and their level, from day 4 to 14, was about 2-fold higher than in both controls, confirming macroscopic observations that treated suspensions showed an intense brown-red color, from day 3 onwards. These elicitation results suggest that chitosan selectively up-regulates specific biosynthetic pathways, without modifying the general accumulation pattern of other flavonoids. Proteins have been extracted from cells at day 4 of culture (corresponding to the production peak of trans-resveratrol) and separated by bidimensional electrophoresis. The 73 proteins that showed a consistently changed amount between untreated, chitosan and acetic acid (chitosan solvent) treated cells, have been identified by mass spectrometry. Chitosan induced an increase in stilbene synthase (STS, the resveratrol biosynthetic enzyme), chalcone-flavanone isomerase (CHI, that switches the pathway from chalcones to flavones and anthocyanins), pathogenesis-related proteins 10 (PRs10, a large family of defence proteins), and a decrease in many proteins belonging to primary metabolisms. A train of six distinct spots of STS encoded by the same gene and increased by chitosan, was detected on the 2-D gels, and related to the different phosphorylation degree of STS spots. Northern blot analyses have been performed on RNA extracted from cells treated with chitosan and relative controls, using probes for STS, PAL (phenylalanine ammonia lyase, the first enzyme of the biosynthetic pathway), CHS (chalcone synthase, that shares with STS the same precursors), CHI and PR-10. The up-regulation of PAL, CHS and CHI transcript expression levels correlated with the accumulation of anthocyanins. The strong increase of different molecular weight PR-10 mRNAs, correlated with the 11 PR-10 protein spots identified in proteomic analyses. The sudden decrease in trans-resveratrol endogenous accumulation after day 4 of culture, could be simply explained by the diminished resveratrol biosynthetic activity due to the lower amount of biosynthetic enzymes. This might be indirectly demonstrated by northern blot expression analyses, that showed lower levels of phenylalanine ammonia lyase (PAL) and stilbene synthase (STS) mRNAs starting from day 4. Other possible explanations could be a resveratrol oxidation process and/or the formation of other different mono-, di-glucosides and resveratrol oligomers such as viniferins. Immunolocalisation experiments performed on grape protoplasts and the subsequent analyses by confocal microscope, showed that STS, and therefore the resveratrol synthetic site, is mostly associated to intracellular membranes close to the cytosolic side of plasma membrane and in a smaller amount is localized in the cytosol. STS seemed not to be present inside vacuole and nucleus. There were no differences in the STS intracellular localisation between the different treatments. Since it was shown that stilbenes are largely released in the culture medium and that STS is a soluble protein, a possible interaction of STS with a plasma membrane transporter responsible for the extrusion of stilbenes in the culture medium, might be hypothesized. Proteomic analyses performed on subcellular fractions identified in the microsomial fraction 5 proteins taking part in channel complexes or associated with channels, that significantly changed their amount after chitosan treatment. In soluble and membrane fractions respectively 3 and 4 STS and 6 and 3 PR-10 have been identified. Proteomic results obtained from subcellular fractions substantially confirmed previous result obtained from total cell protein extracts and added more information about protein localisation and co-localisation. The interesting results obtained on Barbera cell cultures with the aim to increase polyphenol (especially stilbenes) production, have encouraged scale up tests in 1 litre bioreactors. The first trial fermentation was performed in parallel with a normal time-course in 20 mL flasks, showing that the scale-up (bigger volume and different conditions) process influenced in a very relevant way stilbenes production. In order to optimise culture parameters such as medium sucrose amount, fermentation length and inoculum cell concentration, few other fermentations were performed. Chitosan treatments were also performed. The modification of each parameter brought relevant variations in stilbenes and catechins levels, so that the production of a certain compound (or class of compounds) could be hypothetically promoted by modulating one or more culture parameters. For example the catechin yield could be improved by increasing sucrose content and the time of fermentation. The best results in stilbene yield were obtained in a 800 mL fermentation inoculated with 10.8 grams of cells and supplemented with chitosan. The culture was fed with MS medium added with 30 g/L sucrose, 25 μg/mL rifampicin and 50 μg/mL of chitosan, and was maintained at 24°C, stirred by marine impeller at 100 rpm and supplied of air at 0.16 L/min rate. Resveratroloside was the stilbene present in the larger amount, 3-5 times more than resveratrol. Because resveratrol glucosides are similarly active and more stable than free resveratrol, their production using a bioreactor could be a great advantage in an hypothetical industrial process. In my bioreactor tests, stilbenes were mainly released in the culture medium (60-80% of the total) and this fact could be another advantage for industrial applications, because it allows recovering the products directly from the culture medium without stopping the fermentation and/or killing the cells. In my best cultural conditions, it was possible to obtain 3.95 mg/L of stilbenes at day 4 (maximum resveratrol accumulation) and 5.13 mg/L at day 14 (maximum resveratroloside production). In conclusion, chitosan effect in inducing Vitis vinifera defense mechanisms can be related to its ability to increase the intracellular content of a large spectrum of antioxidants, and in particular of resveratrol, its derivates and anthocyanins. Its effect can be observed at transcriptional, proteomic (variation of soluble and membrane protein amounts) and metabolic (polyphenols production) level. The chitosan ability to elicit specific plant matabolisms can be useful to produce large quantities of antioxidant compounds from cell culture in bioreactor.

Retrieval of trace gases vertical profile in the lower atmosphere combining. Differential Optical Absorption Spectroscopy with radiative transfer models

The motivation for the work presented in this thesis is to retrieve profile information for the atmospheric trace constituents nitrogen dioxide (NO2) and ozone (O3) in the lower troposphere from remote sensing measurements. The remote sensing technique used, referred to as Multiple AXis Differential Optical Absorption Spectroscopy (MAX-DOAS), is a recent technique that represents a significant advance on the well-established DOAS, especially for what it concerns the study of tropospheric trace consituents. NO2 is an important trace gas in the lower troposphere due to the fact that it is involved in the production of tropospheric ozone; ozone and nitrogen dioxide are key factors in determining the quality of air with consequences, for example, on human health and the growth of vegetation. To understand the NO2 and ozone chemistry in more detail not only the concentrations at ground but also the acquisition of the vertical distribution is necessary. In fact, the budget of nitrogen oxides and ozone in the atmosphere is determined both by local emissions and non-local chemical and dynamical processes (i.e. diffusion and transport at various scales) that greatly impact on their vertical and temporal distribution: thus a tool to resolve the vertical profile information is really important. Useful measurement techniques for atmospheric trace species should fulfill at least two main requirements. First, they must be sufficiently sensitive to detect the species under consideration at their ambient concentration levels. Second, they must be specific, which means that the results of the measurement of a particular species must be neither positively nor negatively influenced by any other trace species simultaneously present in the probed volume of air. Air monitoring by spectroscopic techniques has proven to be a very useful tool to fulfill these desirable requirements as well as a number of other important properties. During the last decades, many such instruments have been developed which are based on the absorption properties of the constituents in various regions of the electromagnetic spectrum, ranging from the far infrared to the ultraviolet. Among them, Differential Optical Absorption Spectroscopy (DOAS) has played an important role. DOAS is an established remote sensing technique for atmospheric trace gases probing, which identifies and quantifies the trace gases in the atmosphere taking advantage of their molecular absorption structures in the near UV and visible wavelengths of the electromagnetic spectrum (from 0.25 μm to 0.75 μm). Passive DOAS, in particular, can detect the presence of a trace gas in terms of its integrated concentration over the atmospheric path from the sun to the receiver (the so called slant column density). The receiver can be located at ground, as well as on board an aircraft or a satellite platform. Passive DOAS has, therefore, a flexible measurement configuration that allows multiple applications. The ability to properly interpret passive DOAS measurements of atmospheric constituents depends crucially on how well the optical path of light collected by the system is understood. This is because the final product of DOAS is the concentration of a particular species integrated along the path that radiation covers in the atmosphere. This path is not known a priori and can only be evaluated by Radiative Transfer Models (RTMs). These models are used to calculate the so called vertical column density of a given trace gas, which is obtained by dividing the measured slant column density to the so called air mass factor, which is used to quantify the enhancement of the light path length within the absorber layers. In the case of the standard DOAS set-up, in which radiation is collected along the vertical direction (zenith-sky DOAS), calculations of the air mass factor have been made using “simple” single scattering radiative transfer models. This configuration has its highest sensitivity in the stratosphere, in particular during twilight. This is the result of the large enhancement in stratospheric light path at dawn and dusk combined with a relatively short tropospheric path. In order to increase the sensitivity of the instrument towards tropospheric signals, measurements with the telescope pointing the horizon (offaxis DOAS) have to be performed. In this circumstances, the light path in the lower layers can become very long and necessitate the use of radiative transfer models including multiple scattering, the full treatment of atmospheric sphericity and refraction. In this thesis, a recent development in the well-established DOAS technique is described, referred to as Multiple AXis Differential Optical Absorption Spectroscopy (MAX-DOAS). The MAX-DOAS consists in the simultaneous use of several off-axis directions near the horizon: using this configuration, not only the sensitivity to tropospheric trace gases is greatly improved, but vertical profile information can also be retrieved by combining the simultaneous off-axis measurements with sophisticated RTM calculations and inversion techniques. In particular there is a need for a RTM which is capable of dealing with all the processes intervening along the light path, supporting all DOAS geometries used, and treating multiple scattering events with varying phase functions involved. To achieve these multiple goals a statistical approach based on the Monte Carlo technique should be used. A Monte Carlo RTM generates an ensemble of random photon paths between the light source and the detector, and uses these paths to reconstruct a remote sensing measurement. Within the present study, the Monte Carlo radiative transfer model PROMSAR (PROcessing of Multi-Scattered Atmospheric Radiation) has been developed and used to correctly interpret the slant column densities obtained from MAX-DOAS measurements. In order to derive the vertical concentration profile of a trace gas from its slant column measurement, the AMF is only one part in the quantitative retrieval process. One indispensable requirement is a robust approach to invert the measurements and obtain the unknown concentrations, the air mass factors being known. For this purpose, in the present thesis, we have used the Chahine relaxation method. Ground-based Multiple AXis DOAS, combined with appropriate radiative transfer models and inversion techniques, is a promising tool for atmospheric studies in the lower troposphere and boundary layer, including the retrieval of profile information with a good degree of vertical resolution. This thesis has presented an application of this powerful comprehensive tool for the study of a preserved natural Mediterranean area (the Castel Porziano Estate, located 20 km South-West of Rome) where pollution is transported from remote sources. Application of this tool in densely populated or industrial areas is beginning to look particularly fruitful and represents an important subject for future studies.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

L'eredità di Aldo Rossi nella Penisola Iberica. La costruzione della città e il progetto contemporaneo

Descrizione, tema e obiettivi della ricerca La ricerca si propone lo studio delle possibili influenze che la teoria di Aldo Rossi ha avuto sulla pratica progettuale nella Penisola Iberica, intende quindi affrontare i caratteri fondamentali della teoria che sta alla base di un metodo progettuale ed in particolar modo porre l'attenzione alle nuove costruzioni quando queste si confrontano con le città storiche. Ha come oggetto principale lo studio dei documenti, saggi e scritti riguardanti il tema della costruzione all'interno delle città storiche. Dallo studio di testi selezionati di Aldo Rossi sulla città si vuole concentrare l'attenzione sull'influenza che tale teoria ha avuto nei progetti della Penisola Iberica, studiare come è stata recepita e trasmessa successivamente, attraverso gli scritti di autori spagnoli e come ha visto un suo concretizzarsi poi nei progetti di nuove costruzioni all'interno delle città storiche. Si intende restringere il campo su un periodo ed un luogo precisi, Spagna e Portogallo a partire dagli anni Settanta, tramite la lettura di un importante evento che ha ufficializzato il contatto dell'architetto italiano con la Penisola Iberica, quale il Seminario di Santiago de Compostela tenutosi nel 1976. Al Seminario parteciparono numerosi architetti che si confrontarono su di un progetto per la città di Santiago e furono invitati personaggi di fama internazionale a tenere lezioni introduttive sul tema di dibattito in merito al progetto e alla città storica. Il Seminario di Santiago si colloca in un periodo storico cruciale per la Penisola Iberica, nel 1974 cade il regime salazarista in Portogallo e nel 1975 cade il regime franchista in Spagna ed è quindi di rilevante importanza capire il legame tra l'architettura e la nuova situazione politica. Dallo studio degli interventi, dei progetti che furono prodotti durante il Seminario, della relazione tra questo evento ed il periodo storico in cui esso va contestualizzato, si intende giungere alla individuazione delle tracce della reale presenza di tale eredità. Presupposti metodologici. Percorso e strumenti di ricerca La ricerca può quindi essere articolata in distinte fasi corrispondenti per lo più ai capitoli in cui si articola la tesi: una prima fase con carattere prevalentemente storica, di ricerca del materiale per poter definire il contesto in cui si sviluppano poi le vicende oggetto della tesi; una seconda fase di impronta teorica, ossia di ricerca bibliografica del materiale e delle testimonianze che provvedono alla definizione della reale presenza di effetti scaturiti dai contatti tra Rossi e la Penisola Iberica, per andare a costruire una eredità ; una terza fase che entra nel merito della composizione attraverso lo studio e la verifica delle prime due parti, tramite l'analisi grafica applicata ad uno specifico esempio architettonico selezionato; una quarta fase dove il punto di vista viene ribaltato e si indaga l'influenza dei luoghi visitati e dei contatti intrattenuti con alcuni personaggi della Penisola Iberica sull'architettura di Rossi, ricercandone i riferimenti. La ricerca è stata condotta attraverso lo studio di alcuni eventi selezionati nel corso degli anni che si sono mostrati significativi per l'indagine, per la risonanza che hanno avuto sulla storia dell'architettura della Penisola. A questo scopo si sono utilizzati principalmente tre strumenti: lo studio dei documenti, le pubblicazioni e le riviste prodotte in Spagna, gli scritti di Aldo Rossi in merito, e la testimonianza diretta attraverso interviste di personaggi chiave. La ricerca ha prodotto un testo suddiviso per capitoli che rispetta l'organizzazione in fasi di lavoro. A seguito di determinate condizioni storiche e politiche, studiate nella ricerca a supporto della tesi espressa, nella Penisola Iberica si è verificato il diffondersi della necessità e del desiderio di guardare e prendere a riferimento l'architettura europea e in particolar modo quella italiana. Il periodo sul quale viene focalizzata l'attenzione ha inizio negli anni Sessanta, gli ultimi prima della caduta delle dittature, scenario dei primi viaggi di Aldo Rossi nella Penisola Iberica. Questi primi contatti pongono le basi per intense e significative relazioni future. Attraverso l'approfondimento e la studio dei materiali relativi all'oggetto della tesi, si è cercato di mettere in luce il contesto culturale, l'attenzione e l'interesse per l'apertura di un dibattito intorno all'architettura, non solo a livello nazionale, ma europeo. Ciò ha evidenziato il desiderio di innescare un meccanismo di discussione e scambio di idee, facendo leva sull'importanza dello sviluppo e ricerca di una base teorica comune che rende coerente i lavori prodotti nel panorama architettonico iberico, seppur ottenendo risultati che si differenziano gli uni dagli altri. E' emerso un forte interesse per il discorso teorico sull'architettura, trasmissibile e comunicabile, che diventa punto di partenza per un metodo progettuale. Ciò ha reso palese una condivisione di intenti e l'assunzione della teoria di Aldo Rossi, acquisita, diffusa e discussa, attraverso la pubblicazione dei suoi saggi, la conoscenza diretta con l'architetto e la sua architettura, conferenze, seminari, come base teorica su cui fondare il proprio sapere architettonico ed il processo metodologico progettuale da applicare di volta in volta negli interventi concreti. Si è giunti così alla definizione di determinati eventi che hanno permesso di entrare nel profondo della questione e di sondare la relazione tra Rossi e la Penisola Iberica, il materiale fornito dallo studio di tali episodi, quali il I SIAC, la diffusione della rivista "2C. Construccion de la Ciudad", la Coleccion Arquitectura y Critica di Gustavo Gili, hanno poi dato impulso per il reperimento di una rete di ulteriori riferimenti. E' stato possibile quindi individuare un gruppo di architetti spagnoli, che si identificano come allievi del maestro Rossi, impegnato per altro in quegli anni nella formazione di una Scuola e di un insegnamento, che non viene recepito tanto nelle forme, piuttosto nei contenuti. I punti su cui si fondano le connessioni tra l'analisi urbana e il progetto architettonico si centrano attorno due temi di base che riprendono la teoria esposta da Rossi nel saggio L'architettura della città : - relazione tra l'area-studio e la città nella sua globalità, - relazione tra la tipologia edificatoria e gli aspetti morfologici. La ricerca presentata ha visto nelle sue successive fasi di approfondimento, come si è detto, lo sviluppo parallelo di più tematiche. Nell'affrontare ciascuna fase è stato necessario, di volta in volta, operare una verifica delle tappe percorse precedentemente, per mantenere costante il filo del discorso col lavoro svolto e ritrovare, durante lo svolgimento stesso della ricerca, gli elementi di connessione tra i diversi episodi analizzati. Tale operazione ha messo in luce talvolta nodi della ricerca rimasti in sospeso che richiedevano un ulteriore approfondimento o talvolta solo una rivisitazione per renderne possibile un più proficuo collegamento con la rete di informazioni accumulate. La ricerca ha percorso strade diverse che corrono parallele, per quanto riguarda il periodo preso in analisi: - i testi sulla storia dell'architettura spagnola e la situazione contestuale agli anni Settanta - il materiale riguardante il I SIAC - le interviste ai partecipanti al I SIAC - le traduzioni di Gustavo Gili nella Coleccion Arquitectura y Critica - la rivista "2C. Construccion de la Ciudad" Esse hanno portato alla luce una notevole quantità di tematiche, attraverso le quali, queste strade vengono ad intrecciarsi e a coincidere, verificando l'una la veridicità dell'altra e rafforzandone il valore delle affermazioni. Esposizione sintetica dei principali contenuti esposti dalla ricerca Andiamo ora a vedere brevemente i contenuti dei singoli capitoli. Nel primo capitolo Anni Settanta. Periodo di transizione per la Penisola Iberica si è cercato di dare un contesto storico agli eventi studiati successivamente, andando ad evidenziare gli elementi chiave che permettono di rintracciare la presenza della predisposizione ad un cambiamento culturale. La fase di passaggio da una condizione di chiusura rispetto alle contaminazioni provenienti dall'esterno, che caratterizza Spagna e Portogallo negli anni Sessanta, lascia il posto ad un graduale abbandono della situazione di isolamento venutasi a creare intorno al Paese a causa del regime dittatoriale, fino a giungere all'apertura e all'interesse nei confronti degli apporti culturali esterni. E' in questo contesto che si gettano le basi per la realizzazione del I Seminario Internazionale di Architettura Contemporanea a Santiago de Compostela, del 1976, diretto da Aldo Rossi e organizzato da César Portela e Salvador Tarragó, di cui tratta il capitolo secondo. Questo è uno degli eventi rintracciati nella storia delle relazioni tra Rossi e la Penisola Iberica, attraverso il quale è stato possibile constatare la presenza di uno scambio culturale e l'importazione in Spagna delle teorie di Aldo Rossi. Organizzato all'indomani della caduta del franchismo, ne conserva una reminescenza formale. Il capitolo è organizzato in tre parti, la prima si occupa della ricostruzione dei momenti salienti del Seminario Proyecto y ciudad historica, dagli interventi di architetti di fama internazionale, quali lo stesso Aldo Rossi, Carlo Aymonino, James Stirling, Oswald Mathias Ungers e molti altri, che si confrontano sul tema delle città storiche, alle giornate seminariali dedicate all’elaborazione di un progetto per cinque aree individuate all’interno di Santiago de Compostela e quindi dell’applicazione alla pratica progettuale dell’inscindibile base teorica esposta. Segue la seconda parte dello stesso capitolo riguardante La selezione di interviste ai partecipanti al Seminario. Esso contiene la raccolta dei colloqui avuti con alcuni dei personaggi che presero parte al Seminario e attraverso le loro parole si è cercato di approfondire la materia, in particolar modo andando ad evidenziare l’ambiente culturale in cui nacque l’idea del Seminario, il ruolo avuto nella diffusione della teoria di Aldo Rossi in Spagna e la ripercussione che ebbe nella pratica costruttiva. Le diverse interviste, seppur rivolte a persone che oggi vivono in contesti distanti e che in seguito a questa esperienza collettiva hanno intrapreso strade diverse, hanno fatto emergere aspetti comuni, tale unanimità ha dato ancor più importanza al valore di testimonianza offerta. L’elemento che risulta più evidente è il lascito teorico, di molto prevalente rispetto a quello progettuale che si è andato mescolando di volta in volta con la tradizione e l’esperienza dei cosiddetti allievi di Aldo Rossi. Negli stessi anni comincia a farsi strada l’importanza del confronto e del dibattito circa i temi architettonici e nel capitolo La fortuna critica della teoria di Aldo Rossi nella Penisola Iberica è stato affrontato proprio questo rinnovato interesse per la teoria che in quegli anni si stava diffondendo. Si è portato avanti lo studio delle pubblicazioni di Gustavo Gili nella Coleccion Arquitectura y Critica che, a partire dalla fine degli anni Sessanta, pubblica e traduce in lingua spagnola i più importanti saggi di architettura, tra i quali La arquitectura de la ciudad di Aldo Rossi, nel 1971, e Comlejidad y contradiccion en arquitectura di Robert Venturi nel 1972. Entrambi fondamentali per il modo di affrontare determinate tematiche di cui sempre più in quegli anni si stava interessando la cultura architettonica iberica, diventando così ¬ testi di riferimento anche nelle scuole. Le tracce dell’influenza di Rossi sulla Penisola Iberica si sono poi ricercate nella rivista “2C. Construccion de la Ciudad” individuata come strumento di espressione di una teoria condivisa. Con la nascita nel 1972 a Barcellona di questa rivista viene portato avanti l’impegno di promuovere la Tendenza, facendo riferimento all’opera e alle idee di Rossi ed altri architetti europei, mirando inoltre al recupero di un ruolo privilegiato dell’architettura catalana. A questo proposito sono emersi due fondamentali aspetti che hanno legittimato l’indagine e lo studio di questa fonte: - la diffusione della cultura architettonica, il controllo ideologico e di informazione operato dal lavoro compiuto dalla rivista; - la documentazione circa i criteri di scelta della redazione a proposito del materiale pubblicato. E’ infatti attraverso le pubblicazioni di “2C. Construccion de la Ciudad” che è stato possibile il ritrovamento delle notizie sulla mostra Arquitectura y razionalismo. Aldo Rossi + 21 arquitectos españoles, che accomuna in un’unica esposizione le opere del maestro e di ventuno giovani allievi che hanno recepito e condiviso la teoria espressa ne “L’architettura della città”. Tale mostra viene poi riproposta nella Sezione Internazionale di Architettura della XV Triennale di Milano, la quale dedica un Padiglione col titolo Barcelona, tres epocas tres propuestas. Dalla disamina dei progetti presentati è emerso un interessante caso di confronto tra le Viviendas para gitanos di César Portela e la Casa Bay di Borgo Ticino di Aldo Rossi, di cui si è occupato l’ultimo paragrafo di questo capitolo. Nel corso degli studi è poi emerso un interessante risvolto della ricerca che, capovolgendone l’oggetto stesso, ne ha approfondito gli aspetti cercando di scavare più in profondità nell’analisi della reciproca influenza tra la cultura iberica e Aldo Rossi, questa parte, sviscerata nell’ultimo capitolo, La Penisola Iberica nel “magazzino della memoria” di Aldo Rossi, ha preso il posto di quello che inizialmente doveva presentarsi come il risvolto progettuale della tesi. Era previsto infatti, al termine dello studio dell’influenza di Aldo Rossi sulla Penisola Iberica, un capitolo che concentrava l’attenzione sulla produzione progettuale. A seguito dell’emergere di un’influenza di carattere prettamente teorica, che ha sicuramente modificato la pratica dal punto di vista delle scelte architettoniche, senza però rendersi esplicita dal punto di vista formale, si è preferito, anche per la difficoltà di individuare un solo esempio rappresentativo di quanto espresso, sostituire quest’ultima parte con lo studio dell’altra faccia della medaglia, ossia l’importanza che a sua volta ha avuto la cultura iberica nella formazione della collezione dei riferimenti di Aldo Rossi. L’articolarsi della tesi in fasi distinte, strettamente connesse tra loro da un filo conduttore, ha reso necessari successivi aggiustamenti nel percorso intrapreso, dettati dall’emergere durante la ricerca di nuovi elementi di indagine. Si è pertanto resa esplicita la ricercata eredità di Aldo Rossi, configurandosi però prevalentemente come un’influenza teorica che ha preso le sfumature del contesto e dell’esperienza personale di chi se ne è fatto ricevente, diventandone così un continuatore attraverso il proprio percorso autonomo o collettivo intrapreso in seguito. Come suggerisce José Charters Monteiro, l’eredità di Rossi può essere letta attraverso tre aspetti su cui si basa la sua lezione: la biografia, la teoria dell’architettura, l’opera. In particolar modo per quanto riguarda la Penisola Iberica si può parlare dell’individuazione di un insegnamento riferito alla seconda categoria, i suoi libri di testo, le sue partecipazioni, le traduzioni. Questo è un lascito che rende possibile la continuazione di un dibattito in merito ai temi della teoria dell’architettura, della sue finalità e delle concrete applicazioni nelle opere, che ha permesso il verificarsi di una apertura mentale che mette in relazione l’architettura con altre discipline umanistiche e scientifiche, dalla politica, alla sociologia, comprendendo l’arte, le città la morfologia, la topografia, mediate e messe in relazione proprio attraverso l’architettura.