CO2 Emission from two old mine drillings (Mt. Amiata, Central Italy) as a possible example of storage and leakage of deep-seated CO2

CO2 Emission from two old mine drillings (Mt. Amiata, Central Italy) as a possible example of storage and leakage of deep-seated CO2

New data on the Pleistocene of Trani (Adriatic Coast, Southern Italy)

Along the Apulian Adriatic coast, in a cliff south of Trani, a succession of three units (superimposed on one another) of marine and/or paralic environments has been recognised. The lowest unit I is characterised by calcareous/siliciclastic sands (css), micritic limestones (ml), stromatolitic and characean boundstones (scb), characean calcarenites (cc). The sedimentary environment merges from shallow marine, with low energy and temporary episodes of subaerial exposure, to lagoonal with a few exchanges with the sea. The lagoonal stromatolites (scb subunit) grew during a long period of relative stability of a high sea level in tropical climate. The unit I is truncated at the top by an erosion surface on which the unit II overlies; this consists of a basal pebble lag (bpl), silicicla - stic sands (ss), calcareous sands (cs), characean boundstones (cb), brown paleosol (bp). The sedimentary environment varies from beach to lagoon with salinity variations. Although there are indications of seismic events within the subunits cs, unit II deposition took place in a context of relative stability. The unit II is referable to a sea level highstand. Unit III, trangressive on the preceding, consists of white calcareous sands (wcs), calcareous sands and calcarenites (csc), phytoclastic calcirudite and phytohermal travertine (pcpt), mixed deposits (csl, m, k, c), sands (s) and red/brown paleosols (rbp). The sedimentation of this unit was affected by synsedimentary tectonic, attested by seismites found at several heights. Also the unit III is referable to a sea level highstand. The scientific literature has so far generally attributed to the Tyrrhenian (auct.) the deposits of Trani cliff. As part of this work some datings were performed on 10 samples, using the amino acid racemization method (AAR) applied to ostracod carapaces. Four of these samples have been rejected because they have shown in laboratory recent contamination. The numerical ages indicate that the deposits of the Trani cliff are older than MIS 5. The upper part of the unit I has been dated to 355±85 ka BP, thus allowing to assign the lowest stromatolitic subunit (scb) at the MIS 11 peak and the top of the unit I at the MIS 11-MIS 10 interval. The base of the unit II has been dated to 333±118 ka BP, thus attributing the erosion surface that bounds the units I and II to the MIS 10 lowstand and the lower part of the unit II to MIS 9.3. The upper part of the unit II has been dated to 234±35 ka BP, while three other numerical ages come from unit III: 303±35, 267±51, 247±61 ka BP. At present, the numerical ages cannot distinguish the sedimentation ages of units II and III, which are both related to the MIS 9.3- MIS 7.1 time range. However, the position of the units, superimposed one another, and their respective age, allows us to recognise a subsidence phase between MIS 11 and MIS 7, followed by an uplift phase between the MIS 7 and the present day, which led the deposits in their current position. This tectonic pattern is not in full agreement with what is described in the literature for the Apulian foreland.

Origin of the gases released from the Acqua Passante and Ermeta wells (Mt. Amiata, central Italy) and possible environmental implications for their closure

The Mt. Amiata volcano (Tuscany, central Italy) hosts the second largest geothermal field of Italy. Its SW and NE sectors are characterized by the presence of several CO2-rich (mayor que95% by vol.) gas discharges. An intense Hg mining activity had taken place from the 19th century up to the end of the ?70s, particularly close to Abbadia San Salvatore, during which two drillings (Acqua Passante and Ermeta) intercepted a CO2-rich gas fertile horizon. The related gases are emitted in the atmosphere since 1938 and 1959, respectively, causing severe concerns for the local air quality. In this work the results of a geochemical and isotopic survey carried out on these gas emissions from March 2009 to January 2014 are presented. CO2 fluxes from both the two wells and soil from an area of about 653,500 m2 located between them were measured. The two wells are emitting up to 15,000, 92 and 8 tons y-1 of CO2, CH4 and H2S, respectively, while the computed soil CO2 output was estimated at 4,311 ton y-1. The spatial distribution of the CO2 soil flux suggests the presence of preferential patterns, indicating sites of higher permeability. Since the local municipality is evaluating the possibility to plug the Ermeta vent, a temporarily closure should first be carried out to test the possible influence of this operation on the diffuse soil degassing of deep-originated CO2 in the surrounding area. This implies that diffuse soil gases should carefully be monitored before proceeding with its definitive closure.

Benetton Nursery, Treviso (Italy) 2007

A BOX OPEN TO THE SKY = UNA CAJA ABIERTA AL CIELO

Janus House, Reggio Emilia, Italy (1992)

This house was born in response to an international competition organized in Italy; la Casa piú bella del Mondo (the most beautiful house in the world).

La opción radical : viaje a través de Superstudio

Entre 1966 y 1967 un pequeño grupo de jóvenes arquitectos recién titulados en la Facultad de Arquitectura de Florencia escenifican en dos actos programados en las ciudades de Pistoia y Módenala exposición Superarchitettura, con la que sin saberlo inauguran un corto pero intenso periodo de experimentación arquitectónica que convulsionaría Italia durante los 10 años posteriores, dinamitados por multitud de propuestas que darán lugar a la última arquitectura con aspiraciones socio-políticas responsable de un vibrante legado teórico que proclamaba la vuelta a las raíces olvidadas de la profesión y que se mostraba más preocupada por reflexionar sobre sus fundamentos que por perpetuar la práctica de un oficio ahora puesto en crisis. Ambos eventos suponen también el nacimiento simultáneo de Superstudio y Archizoom, dos de los colectivos más influyentes de la arquitectura experimental italiana de estos años, convertidos en protagonistas de un agitado periodo de transición en el que una generación estaba dando paso a la siguiente a través de la sustitución de los principios doctrinarios recibidos de la modernidad por una jugosa incertidumbre desmitificadora ligada a una nueva realidad económica, política y social que marcaría los inicios de la posmodernidad. La experiencia italiana surge aprovechando la efervescencia de un fenómeno que posteriormente algunos críticos etiquetaron como Arquitectura Radical con la intención de unificar el trabajo de un heterogéneo y atomizado grupo de arquitectos fundamentalmente europeos – individualmente comprometidos con el replanteamiento total de la definición y objetivos de la disciplina, al tiempo que participaban en una particular cruzada existencial mediante la que pretendían, si no cambiar el mundo, al menos romper la dinámica estéril de la arquitectura profesional y tecnológica heredada. La presente tesis fomenta la recuperación interesada de este breve momento radical como un ambicioso proyecto de modernización inacabado, pero no solo para analizar las causas de su precipitado final, sino sobre todo para mostrar las razones de su gran éxito internacional, convirtiendo para ello el trabajo de Superstudio, ejemplo paradigmático de la actitud crítica compartida por el resto de operadores contemporáneos, en el catalizador adecuado a partir del cual interpretar y extrapolar su legado con el fin de narrar el cambio trascendental que este episodio supuso para la práctica arquitectónica, alejándola del diseño de edificios y centrándola en la adopción y aplicación de multitud de actividades no tectónicas en un intento por separarse de lo que era percibido como una disciplina corrupta. A lo largo de su corta carrera en común, los seis miembros de Superstudio sustituyeron la construcción convencional por la explotación intensiva de medios alternativos desde el diseño de mobiliario e iluminación y algunos experimentos en torno a la “arquitectura eléctrica”, hasta la expansión mediática de su trabajo a través de revistas, películas, exposiciones y conferencias contribuyendo así a una provocativa destrucción y posterior expansión de los límites dentro de los que hasta ese momento se había mantenido cómodamente instalada la arquitectura. Esta investigación descubre la trascendencia de considerar aquello que ocupó gran parte de la actividad de Superstudio y de sus colegas radicales (muebles, revistas, instalaciones, películas, labor teórica y docente, etc.) como nuevas formas de arquitectura con las que construir un nuevo lenguaje crítico, en un intento por contribuir a renovar y reforzar la relevancia y responsabilidad social de una profesión llamada a expandirse más allá de lo construido para nutrirse e interactuar con todos los ámbitos de nuestro entorno diario. ABSTRACT Between 1966 and 1967 a small group of newly qualified young architects from the Faculty of Architecture of Florence staged in two events planned in the cities of Pistoia and Modena the Superarchitettura exhibition, with which unwittingly inaugurated a short but intense period of architectural experimentation that convulse Italy during the following 10 years, blown up by a multitude of proposals that will result in the latest architecture with socio political aspirations responsible for a vibrant theoretical legacy proclaiming a return to forgotten roots of the profession and that was more concerned with reflect on its fundamentals than perpetuate the practice of a profession now put into crisis. Both events also involve the simultaneous birth of Superstudio and Archizoom, two of the most influential groups of Italian experimental architecture of these years, turned into protagonists of an hectic period of transition in which a generation was giving way to the next through replacing the received doctrinal principles of modernity by a juicy demystifying uncertainty linked to a new reality economic, political and social that would mark the beginning of postmodernism. The Italian experience arises taking advantage of the commotion of a phenomenon that later some critics labeled as Radical Architecture with the intention of unifying the work of a diverse and fragmented group of architects mainly European individually committed to the total rethinking of the definition and objectives of the discipline, while participating in a particular existential crusade with which they sought to, if not change the world, at least break out of the sterile dynamic of professional and technological architecture inherited. This doctoral thesis promotes an interested recovery of in this short radical time as an ambitious modernization project unfinished, but not only to analyze the causes of its precipitous end, but above all to show the reasons for it’s international success, turning the work of Superstudio, a paradigmatic example of the critical attitude shared by the rest of contemporary operators, into the suitable catalyst from which to interpret and extrapolate it’s legacy in order to recount the significant change that this episode marked for architectural practice, moving it away from building and focusing it on the adoption and implementation of many nonLtectonic activities in an attempt to separate from what was perceived as a corrupt discipline. Throughout their short career in common, the six members of Superstudio replaced conventional construction by intensive exploitation of alternative means L from furniture and lighting design and some experiments around the "electric architecture", to the media expansion of their work through magazines, films, exhibitions and lectures thus contributing to a provocative destruction and subsequent expansion of the limits within which architecture had remained ensconced until then. This dissertation finds out the importance of considering what occupied much of the activity of Superstudio and their radical colleagues (furniture, magazines, installations, films, theoretical and educational work, etc.) as new forms of architecture that build a new critical language, in an attempt to help renew and reinforce the relevance and social responsibility of a profession call to expand beyond the built to nourish and interact with all areas of our everyday environment.

1931-1937: Charles W. Florence

10th President 1931-1937

2.5 Charles W. Florence, 10th President of Lincoln University, 1931-37.

Gaines studied History and Education at Lincoln and was frequently seen in Memorial Hall chatting with his mentors in the History Department, Drs. W. Sherman Savage and Lorenzo Greene about his future after graduation.