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collaboratore — Fri, 19 Mar 2010 21:23:26 +0000

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Il Web Magazine settimanale della green economy e dell’Eco pensiero
Architettura, Design, Edilizia, Costruzioni, Real Estate, Tecnologia, Arte, Arredamento, Antiquariato, Cultura verde, Life style, Fiere, Mostre, Libri, Eventi, Convegni, Incontri, Corsi, Workshop gli argomenti della rivista on line edita da House Company Edizioni.

HOUSE, living and business è la rivista dell’Industria dell’Abitare.
Un’innovativo strumento d’informazione, on line dall’8 gennaio 2010, abbinato a IMMOBILIARE, la prima guida italiana all’Industria dell’Abitare (in preparazione)
e ad «ECOHOUSING ART, opere e progetti per abitare gli spazi» 1a edizione del Concorso Nazionale riservato a Junior e Senior artisti, designer, architetti e ingegneri (iscrizioni aperte fino al 30 settembre 2010).

Il sommario del Web Magazine
della green economy e dell’Eco pensiero

- CULTURA
«Milano è ricca. Armani crede che sia una città morta: ma siamo scemi?»
Intervista esclusiva a Davide Rampello il Presidente della Fondazione Triennale: dopo il Manifesto del fare, la Tavola dei principi di Greta La Rocca
- ARTE
ABOminevole, uno Yeti nel mondo dell’arte. Achille Bonito Oliva si racconta di Giò Pivetta
«Non sono un’icona, non mi pento di niente e non voglio passare alla storia»
Il 12 aprile, Gillo Dorfles compierà 100 anni, House, living and business è andato a trovarlo di Greta La Rocca e Daniela Paola Aglione
- ARCHITETTURA
Manfredi Nicoletti «Per aver successo in Italia, bisogna essere seguiti da uno stuolo di bandiere, preferibilmente rosse»
Mario Cucinella «I politici scelgono le archistar perché riempiono le pagine dei giornali»
Bernard Tschumi «L’architetto deve essere violento»
Interviste a 360 gradi sull’architettura di Greta La Rocca
- EXPO 2015 IL DIBATTITO
L’ape e Stefano Boeri, il potere dell’architettura in Italia
- URBAN DESIGN
«Oggi l’architettura è estremamente superficiale: non dà risposte ragionate» L’urbanista Aldo Cibic che fa thinking design di Greta La Rocca
- SOCIOLOGIA
Massimo Di Felice «Interface e paesaggi posturbani»
Da San Paolo il sociologo spiega come cambiano le geografie grazie ai nuovi strumenti di comunicazione di Daniela Paola Aglione
- URBANISTICA
Edoardo Salzano «Gli architetti vogliono rappresentare solo se stessi. Basta guardare i tre grattaceli milanesi. Lo zoppo, lo sciancato e lo storto»
L’urbanista racconta le trasformazioni delle città di Giò Pivetta
- FOTOGRAFIA
Maurizio Galimberti «Non voglio fotografare i politici, non hanno anima»
L’Instant Artist della Polaroid che sogna di fotografare Papa Ratzinger di Olivia Villa
- SOCIAL HOUSING
Maurizio De Caro: jazz, cultura e poesia, le rapinate visioni dell’edilizia popolare di Giò Pivetta
- MOSTRE
Il cartellone di aprile 2010 a cura di Cristiana Ceruti
- LIBRI RIVISTE
Vernice fresca in libreria a cura di Daniela Paola Aglione

Michel Maffesoli “Dans la ville de l’avenir, les styles de vie seront tribaux”

collaboratore — Tue, 23 Feb 2010 14:18:25 +0000

Qu’est-ce que la ville moderne? Un espace individuel et collectif qui embrasse, protège, incorpore, enferme, limite, suffoque, déprime? Comment va évoluer le concept d’espace habité, auquel concourent institutions, architectes, urbanistes, artistes, sociologues mais, surtout, citoyens?
Sommes-nous donc à un tournant qui voit l’Europe, malgré le recul des institutions, traversée par un mouvement de fond, un ensemble de tribus urbaines composées par de jeunes générations en mouvement. Un mouvement global poussé par les possibilités du Réseau d’aller au-delà de n’importe quelle limite, de n’importe quelle barrière, par la mobilité qui donne Internet, par le nouveau concept d’espace circumnavigabile qui casse les perspectives géographiques, économiques, sociales. Les villes métropolitaines représentent le modèle le plus intéressant d’évolution parce qu’elles dépassent la conception de ville centralisée à travers l’extension vers de nouvelles périphéries qui prennent toujours plus le rôle de centres pointillés, par un continuum territorial du milieu bâti au milieu naturel, accompagnées par un sentiment d’enracinement local renouvelé. Nous avons demandé à Michel Maffesoli, le grand sociologue français qui a pris la chaire d’Emile Durkheim à la Sorbonne de Paris, de nous fournir une prévision sur l’avenir des villes et sur les développements possibles, une photographie d’ensemble des indicateurs qui vont nous faire passer dans l’ère postmoderne.

La dépression est le mal du siècle. L’Oms prévoit que, dans vingt ans, elle sera la maladie la plus diffusée au monde. Le bilan actuel est d’environ 800 suicides par an. Elle est plus diffusée que le cancer et le Sida. Dans quelle façon, l’homme est influencé par l’espace dans lequel il vit?
 Dans son livre La renaissance d’Aphrodite Ginette Paris écrit: Les Arabes avaient compris déjà au IX e au X siècle qu’un jardin fleuri, la compagnie de poètes et de musiciens et de la bonne table étaient essentiels dans les lieux de soin. Dans notre civilisation, qui privilégie la puissante civilisatrice d’Apollon et néglige celle d’Aphrodite, la plupart des hôpitaux, des lieux de travail et souvent des maisons ressemblent plutôt aux casernes qu’aux temples d’Aphrodite. Je suis tout à fait en accord avec la citation de Ginette Paris, la collègue quebèquoise. Dans mon livre L’ombre de Dionysos j’avais montré que l’ombre de Dionysos allait se répandre sur les villes postmodernes. La dépression, ce mal être de vivre dans les villes, est quelque chose qui caractérise encore la modernité dans le sens classique du terme. Elle a commencé au XVIII° siècle et elle est en train de s’achever maintenant. Les temps modernes ont élaboré une ville parfaitement rationalisée où l’on avait évacué tout désordre, tout plaisir d’être et donc ce qui avait prévalu c’était le quantitatif, pas le qualitatif. Il s’agit d’une caractéristique de toutes nos villes occidentales, européennes et américaines du Nord, contrairement à celles qui sont en Extrême-Orient, en Amérique Latine. Elle était conçue d’une manière très rationnelle dans le sens d’évacuer les pulsions, les émotions, les passions, l’art dans le sens général du terme. L’analyse de l’OMS comprend donc ce genre de réalité urbaine.  Mais maintenant un changement qualitatif est en train de s’opérer. Dans tout mon travail, tout ce que j’ai essayé d’écrire dans mes divers livres, de L’ Ombre de Dionysos, Au Ré enchantement du monde. Morales, éthiques, déontologies, (Paris, éd. Table Ronde, 2007 ), à Apocalypse, (Paris, CNRS éditions, 2009), qui ont été traduits en Italien, j’ai essayé de démontrer que nous entrons dans un moment post -moderne: les jeunes générations ne veulent plus accepter ce schéma de rationalisme et cette conception qui s’est nourrie d’un humanisme tout à fait cartésien, d’un urbanisme qui est une négation de l’espace et que l’on voit de plus en plus contaminée par la vie sociale, par le retour du qualitatif, du plaisir, à l’espace. Toute la sensibilité écologique, même dans la nourriture avec l’exemple du Slow Food en Italie, quoique avec de retard institutionnel (on voit bien ce qui s’est passé à Copenhague) est très exemplaire de cela. Dans le fond il y a une lente démarche qui pousse à penser que l’on peut plus dévaster le monde, dévaster la terre, dévaster les villes. À mon avis cette jeune génération va être attaché à des lieux, va redonner de l’importance aux lieux urbains. Ainsi, dans ma ville, Paris, des lieux comme la fontaine de Saint Michel, le Parc des Princes pour le sport, Montmartre pour le théâtre et le plaisir deviennent des espaces fondamentaux d’un tissu social qui redécouvre la qualité de l’existence. Londres c’est exactement la même chose, Barcelone aussi. Vous pouvez trouver des quantités d’exemples.

Quelles Utopies circulent dans le nouveau millénaire?
L’utopie de redécouvrir la qualité de vie est en gestation. L’inversion a commencé à se cristalliser dans les années’80 quand on a pris conscience du qualitatif de l’existence. Mais, il y a eu des points annonciateurs dans les années’50 et’60. Les choses ont commencé à bouger déjà dans le post-modernisme architectural dans les années ’60 de l’architecte italo-américain Venturi – Robert Venturi, Philadelphia 1925 - le stylique de la même décennie, les révoltes juvéniles eu Europe. Je parle d’«utopique» parce que ce mouvement n’est pas majoritaire mais tout nos études de sociologie montrent qu’en particulier ces jeunes générations n’acceptent plus une conception quantitative, économique, financière de la vie sociale. Tout mon travail, et je ne suis pas le seul, est de démontrer des frémissements, des indices de ces utopies qui sont en train de contaminer le monde social. Maintenant l’exemple européen est intéressant. Par le biais du monde étudiant il y a une extraordinaire mobilité entre Bonn, Milan, Paris, Cologne, Rome, Helsinki, Bratislava. Cette mobilité, qui a des racines archaïques déjà au Moyen Age, revient et trouve un développement très fort grâce à l’informatique, à Internet. On voit bien ce processus de contamination, là où il y a une circulation d’informations, d’affections, de gens, c’est le retour de l’idée du Moyen Age plus Internet après la parenthèse moderne de trois, quatre siècles. Aujourd’hui on est en train de retrouver l’idée de circulation de la pré modernité plus internet. Donc on est en train de retrouver une “circumnavigation de l’espace”. L’italien Federico Casalegno, qui travaille au MIT à Boston, a repris mon idée de tribus comme précurseur. Donc l’Europe est traversée par ce “nomadisme tribal” grâce à Internet, une contamination importante qui est en gestation. Et c’est pour cela que je partager l’avis pas d’accord avec cette projection de la dépression. L’idée de la dépression est normale, je le comprends bien, si on reste dans le schéma de la ville moderne. Mais il y a quand même toute une série d’indices qui montrent qu’il y a une nouvelle manière d’occuper l’espace. La co-location des jeunes étudiants a une origine économique, de partager les frais. Mais cela engendre un style de vie nouveau: la vie communautaire, je dis tribale, de la “tribus urbaine”. Et ce développement des tribus urbaines redonne une qualité de vie, comme écrite Ginette Paris. C’est un peu l’idéal de vie de Heidegger «l’homme habite en poète».

La tendance tribale des jeunes, après être entré dans le monde du travail, va imploser dans le respect d’un mode de vie plus traditionnel?
Ces jeunes générations sont le “laboratoire” métaphorique d’un mode de vie. Pour le moment ce processus se limite à ces jeunes générations, mais, par contamination, cela va se développer dans l’ensemble du corps social. L’une des expressions de cela en France, par exemple, est le fait que la structure familiale d’un homme et d’une femme est en train d’éclater: actuellement deux mariages sur trois cessent au bout de deux ans. Pourquoi il y a ce taux? Parce que simplement il y a une autre manière de vivre qui a été initié au cours de la jeunesse. C’est pour cela que ce mode de vie représente une contamination. C’est parce qu’il y a de nouveaux modes dans la sexualité, dans la manière d’être, dans l’occupation de l’espace, etc. qu’après on ne se satisfait plus de la simple vie familiale. C’est pour cela qu’on ne peut plus dire «oui ce n’est qu’un moment, après on rentre, on se normalise, on se marie, on va avoir des enfants, un métier.» Cela n’est plus tout à fait vrai maintenant. Il y a des statistiques sur Paris et New York qui montrent que le 50% des Parisiens et new-yorkais sont intra-mores, des célibataires. Ce qui ne veut pas dire qu’il n’y ait pas de vie sexuelle, mais qu’il y a une vie sexuelle libre. Il y a de vrais changements de paradigme. En projection, les maladies urbaines qui étaient le propre de l’isolement familial vont laisser la place a des tribus avec des changements très importants sur la vie sociétaire.

Quels événements exceptionnels est-ce que nous pouvons en attendre? Un Moyen Age nouveau?

À mon sens il y a un processus inéluctable qui va voir se développer cette possibilité de nomadisme. C’est quelque chose qui est assez proche de ce qui s’est passé au Moyen Age quand on peut circuler dans tous les sens, il n’y avait pas de frontières. Tout pouvait circuler, même la maladie, la peste, donc actuellement c’est le Sida, maintenant c’est le virus de la grippe A. Je ne connais pas à fond le débat sur le pont de Messine, mais je sais qu’il y a eu des protestations au Piémont contre le train à grande vitesse. Qu’il y ait des processus de peur c’est compréhensible, ça va encore exister. Mais il y a quelque chose d’inéluctable dans le développement de cette circulation. Encore une fois il faut rappeler que la circumnavigation par Internet favorise le désir d’aller voir l’autre, de rentrer en contact. Nous avons fait des études démontrant que des tribus musicales dans une petite ville du Sud Ouest de la France rentraient en contact avec des mêmes tribus musicales de Prague ou de Bratislava par Internet et puis, du coup, donnaient envie d’aller se visiter. Donc il y a «circulation». Du moment où il y a le désir de circuler, je dirais presque une pulsion de circuler, du coup ça va favoriser les éléments qui unissent: les ponts, les trains à grande vitesse, les avions. La multiplication des compagnies aériennes low cost est un exemple intéressant. Qu’on le veuille ou non, s’il y a désir, il y aura une réponse technique. C’est évident que, dans ce moment-là, il y a des craintes, il y a des manifestations de la peur, il y a des rétrécissements presque sur des positions très archaïques. Prenons ce qui s’est passé à Rosarno, le petit village dans le Sud de l’Italie. Un évènement qui montre comment peuvent exister une xénophobie, des peurs qui sont une normale conséquence du nomadisme qui d’un coup conduit à la libre circulation en soulevant des craintes. Nous sommes exactement dans ce moment. La peur est toujours hystérique. Le propre de la peur c’est qu’elle ne s’adresse pas au cerveau, elle s’adresse au ventre. Elle est irrationnelle. À bien des égards, ça veut dire que, à contrario, ça montre l’importance du nomadisme. En France il y a des processus semblables: on a peur de l’étranger (des Arabes, des Roumains), de l’autre. Mais, qu’on le veuille ou non, nous nous trouvons face à un processus inéluctable. Et ça va ré circuler, dans le vrai sens du terme.

 La mafia et les mafias sont des exemples de réalité tribale
 C’est difficile parce que je ne connais pas assez le système de la mafia qui en France est moins affiché qu’en Italie. Dans mon livre Le temps des tribus. le déclin de l’individualisme dans les sociétés de masse. La Table Ronde, 2000, j’ai souligné qu’ils existent des aspects positifs et négatifs du tribalisme. C’est-à-dire qu’il y a d’un côté des formes de générosité, de solidarité. Et de l’autre côté il y a du pire, comme le protectionnisme criminel, une forme de défenses très corporative. Notre espèce humaine n’est jamais ni tout blanche ni tout noire. C’est le “clair-obscur” de l’existence si je peux le dire.

Les Italiens sont corporatifs, protectionnistes, sédentaires, pour la plupart propriétaires de leur maison.
Je ne suis pas sûr que l’idée de propriété est quelque chose qui va se développer. Le divorce crée énormément de problèmes comme de diviser un appartement. Ce grand développement du tribalisme va fragiliser l’idée de propriété qui est une idée bourgeoise, de la modernité. La post modernité est beaucoup plus aléatoire: on ne va pas s’établir, on ne va pas acheter un appartement, on fait circuler beaucoup plus les biens. Il y a des études qui montrent que les voitures mêmes ne seront plus de propriété individuelle. Alors que la voiture c’était le sommet de ce qu’on achetait, et maintenant l’idée de covoiturage qui est en train de se développer dans nos villes montre bien que même cet objet qui est un peu plus individuel est en train de laisser la place à autre chose.

 Mais les Italiens se voient individualistes, le Berlusconisme est-il un modèle de référence?
Il fallait questionner un sociologue italien… Mais je vois comme grande tendance de fond la dimension tribale, le “sociétal“ qui n’est pas de simple social. Ce concept, qu’on ne voit pas uniquement en France, va prédominer pour dépasser le concept de propriété. De la voiture, de la maison, de l’appartement., Je ne saurais pas quoi dire à propos de Berlusconi. Mais je peux m’exprimer à propos de Sarkozy. Dans sa campagne électorale, il ne cessait de répéter qu’il fallait devenir propriétaire, que tout le monde devrait devenir propriétaire. C’était le leit motiv de sa campagne. Et l’on voit bien comment cela ne correspond pas vraiment au mouvement de fond. Il n’est plus en phase, il n’est plus en syntonie. Mes deux livres par lesquels je suis connu - «Le temps des tribus» et « Du nomadisme » qui ont été traduits dans divers pays – traitent ces deux pôles: retour de la tribu et circulation.

  Les tribus, le nomadisme, la circulation sont les réponses à la trahison du progrès?
 Le mythe du progrès est une idée moderne. C’était une grande idée du XVIII ème, du XIX ème siècle. Mais je ne suis pas sûr que le progressisme soit encore une idée post-moderne. Il va être supplanté par - j’utilise un oxymore - “l’enracinement dynamiques“. Le «glocal» (qui est l’union des mots global et local) qui fait qu’on l’est très enraciné dans la région, dans le village, le terroir, le territoire et en même temps on est aux quatre coins du monde. L’un de mes anciens amis italiens, Giuliano d’Empoli - sociologue italiano, 1973 - qui est un essayiste assez connu, montre un retour des grands voyages de la période pré moderne de Marco Polo. Il y a donc à la fois le retour aux racines, l’attachement au terroir, aux produits du terroir, aux fruits du moment, et puis en même temps le fait que je peux partir à Tokyo, que je peux passer 15 jours à San Paolo, à Rio, etc. C’est ça l’enracinement dynamique. Ce n’est plus du progrès dans le sens simple du terme. Ce n’est plus le grand mythe du progrès qui faisait que l’on dépassait son lieu, l’on allait vers la parfaite société, uniforme de partout. Les villes modernes étaient toutes cela. Ces villes pouvaient donner les dépressions, les maladies. Maintenant je suis plutôt optimiste parce que je pense qu’il y a une poussée qui fait que l’on circule, l’on voyage et en même temps qu’il y a des racines.

Du point de vue de l’urbanisme il y a des exemples de ce phénomène?
 Oui, il y a d’exemples intéressants, mais pas en Europe. Ces grandes mégapoles à Seul, à Tokyo, à San Paulo ne sont plus des villes. C’est de la conurbation. C’est la ville à la campagne. Ce n’est plus la ville centralisée telle qui pouvait être Rome, Milan, Paris, Cologne, Madrid où il y avait un centre important, administratif, du pouvoir, ecclésiastique, etc. et des périphéries. J’appelle cette conurbation une jungle de pierre. Et dans le fond, les mégapoles post-modernes, qui ne sont pas des villes, c’est une autre conception de l’Urbaine. À Shanghai, à Hong Kong, même Daubai, la folie de Daubai, des grandes et belles constructions s’inscrivent dans une conurbation, c’est-à-dire où il y a plusieurs villes dans une ville. Pour moi le modèle c’est Tokyo, avec 40 millions d’habitants–, – l’Italie dépasse de peu les 60 millions d’habitants, statistiques Istat 2009 - c’est le prototype. Ou Mexico car là il y a quelque chose qui fait dire qu’elle est une jungle. À l’intérieur de cette jungle, il peut y avoir de belles constructions, des palais des grands architectes, mais ce n’est pas le Louvre, ce n’est pas un centre. Il peut y avoir un palais et un kilomètre après un autre en français, je dirais en pointillé, avec plusieurs lieux symboliques où les tribus se retrouvent et dans lesquels s’identifient. J’emploie le mot du “haut lieu”: c’est cette conurbation très large, très lâche, où l’on peut y avoir des cristallisations de hauts lieux, où telle ou telle tribu va se retrouver, va se reconnaître. Tokyo possède ces hauts lieux. Ces tribus peuvent avoir une identité culturelle, musicale, sexuelle, religieuse, sportive. Ce n’est plus une identité nationale dans le sens classique du mot “nation”. C’est vraiment des identifications qui vont se faire à partir d’une spécificité de rencontre sexuelle, sportive, religieuse. Et donc selon mon identité du moment, je vais me retrouver dans tel ou tel lieu. Je crois qu’il y ait un vrai changement de paradigme aussi: une porosité entre le privé et le publique. Au XIX ème siècle on parlait du “mur de la vie privée” qui marquait la séparation entre la vie publique et le privé. Aujourd’hui ce mur est totalement poreux. Quand on regarde la télévision tout le monde parle de sa sexualité - ce qui était arrivé à Silvio Berlusconi est un exemple en Italie - ce mur devient poreux. Ce qui était impensable, il y a trente ans ».

  Quel est le devoir du sociologue par rapport au travail de l’urbaniste?
 Dans mon livre Notes sur la postmodernité, Editions du Fèlin, Paris 2003, j’ai utilisé la phrase Le lieu fait lien en jouant sur l’euphonie entre le lieu et le lien. Par là je voulais dire que les sociologues de la modernité se n’étaient pas beaucoup intéressé à l’espace. Ce qui était important à cette époque c’était l’histoire. Et donc l’urbanisme était dans le fond secondaire. Je crois que la post-modernité redonne un peu cette lettre de noblesse à l’espace, à l’urbanisme de la ville. L’on est en train de repenser la ville, de refaire la ville tout comme au Quattrocento, dans la Renaissance on avait donné de l’importance à l’espace et au vivre ensemble. Maintenant peu importent les sociologues. Mais ceux qui s’intéressent à la vie sociale vont êtres obligés de s’intéresser de plus en plus à l’espace. Et c’est ce que j’appelle en français le lieu fait lien. J’interviens souvent dans des colloques d’urbanistes et j’ai été appelé à participer à des réflexions sur le projet du Grand Paris qui me paraît très intéressant. Pour moi il signifie voir ce qu’on peut faire en Europe de ce qui existe à Mexico, à Tokyo ou autre en dépassant le modèle centralisé de la ville moderne. Toutes les villes européennes – comme le philosophe Walter Benjamin le montrait - étaient centrées. En ce lieu, il y a plutôt cette idée de conurbation sur la jungle de pierre. Quelque chose qui est beaucoup plus lâche, bien large. Le fait qu’il n’y ait plus des vraies différences entre la nature, la campagne et la ville va être à mon avis la grande tendance. Et le Grand Paris en est l’expression en gestation. Je trouve que c’est un projet très ambitieux, très innovateur. Je ne sais pas si ça va se réaliser. Mais je le pense car rejoue cette conurbation que l’on trouve dans les mégapoles orientales. Je collabore beaucoup aussi avec le collègue italien, le professeur Massimo Di Felice. à San Paulo où l’on travaille sur le développement technologique, Internet, les réseaux et comment on ne peut plus penser la ville sans son intégration avec le développement technologique.

Milan, 29 janvier 2010
Daniela Paola Aglione
Traduction Elisabetta Carli
HOUSE, LIVING AND BUSINESS

Libeskind: “We’ve got pop-stars, movie stars, why shouldn’t we have Archistars?”

collaboratore — Tue, 23 Feb 2010 10:20:46 +0000

We spoke to the main players on the architectural scene. House Living and Business opens its first number of its web magazine by interviewing the architects Paolo Portoghesi and Vittorio Gregotti, various landscape theorists and Daniel Libeskind, a theorist of beauty.

Do you think “archistar” is an offensive word?
No, I don’t consider myself an archistar because “archistar” is just a word that was invented by the press. It’s just a name. What really counts is the quality of the work. The art of the architect is the most important thing. Archistar doesn’t necessarily mean great architect: the projects and the architecture make the difference. Not all archistars are necessarily great architects, but it’s not an offensive word. It’s just a name, a common term used by people. It has a meaning for the people.

The architects Gregotti and Portoghesi thinks it’s an offensive word and that archistars only create buildings to show off..
No, it’s not offensive. It’s a positive word because it indicates a signature, an identifying sign. Just like pop-stars and movie stars exist, music stars and cinema stars and theatre stars exist, architecture stars exist too. To create a piece of work means to make people hear your voice, it means expressing a style, speaking a certain language. With his architecture, the artist ceases to be part of the general picture: he creates a piece of work that that is the expression of his signature and of his soul. It’s the artist’s way to express himself in front of a vast public, not only in front of those who are a part of the architectural sector.

Do you think Gregotti and Portoghesi’s accusations are based on jealousy?
Yes, of course they’re jealous, like most people are jealous of stars.

What relationship is there between beauty and functionality?
Before, architecture was either beautiful or functional. Today, in the 21st century, things have changed: functionality and beauty must go together, one is just as important as the other. The architect must create something beautiful by creating a dialogue between the idea, the economy, creativity, aesthetics and functionality, just like with the creation of musical instruments. A Stradivari violin is not only functional, it is also beautiful to look at; or a Ferrari. Functionality is accompanied by form.

Curvy lines are a common and characteristic element in your projects.
Can you tell us why?
It’s the art of architecture. Carrying out a project does not only mean doing a technical job that necessarily has to respect the classic rules of architecture. To me, creating a project means finding a link between aesthetics and beauty and an analysis of the surrounding landscape and territory. This kind of analysis touches the city plan, the status of the place, the people and the uniqueness of the history of the place. Furthermore, this kind of analysis touches the history of the population and the light.

You are accused of realizing projects that are all similar to one another. How do you respond to this critique?
Have you seen my projects? Do they all look alike to you? How could they be similar to one another? I don’t have a magic formula that can be applied to any kind of context. I create a relationship between my idea and an analysis of the place. There is no contradiction. My architecture goes beyond a mere celebration of myself because my work is the result of the uniqueness of the place, of the project and of the architect. This mixture of uniqueness gives strength to my work.

How should the artist confront the surrounding context?
The architect should not adapt to the surrounding reality. He should not reproduce an image of something that already exists, but he should follow the reality of the context. The place, the location, they are not dead, they are not unarmed, they always change. The architect should not react to the reading of the location, he should not intervene on an image of the context, he should instead intervene on the reality of the place. He mustn’t be passive. He should respect the place but he shouldn’t stand still, he must transform the place in a dynamic manner. Possible architecture is not the one that imitates the past. The artist should not reproduce the historical asset of a place: he should intervene dynamically, renovating himself.

What kind of relationship do you have with your work?
An architect must be responsible for his projects. I think about my projects constantly. At each step, the project changes and I modify it. I think it’s positive that I question myself and that I reanalyze my ideas based on the changes of the city and of the location. I do not go straight towards my initial idea, I change it based on the changes of the location. I follow the nature of my idea, but I do not build for me, I build for a client that must be happy with my work.

Are you open to criticism?
No, I am not open to criticism. The reason for this is that I do not draw my projects based on criticism.

What do you think of architect Zaha Hadid’s MAXXI Musuem? The architect Portoghesi thinks it is not functional.
No, that is not true. It is very functional. Museums are changing, they are mutating. Those who criticize do it because they are very attached to history, to the past, to the models of the past century. The aesthetic aspect emphasizes the functional aspect. Great architecture can also be dramatic, but aesthetics can also be very functional for the interior parts.

What do you think about Renzo Pianos proposal to create a forest in Milan’s Piazza Duomo? The architects Gregotti and Portoghesi seem to think it is only a provocation.
Renzo Piano is a great architect. I admire him. He is truly excellent. Provocation? No, his proposal is as interesting and excellent as he is.

Milan, 8th January 2010
Greta La Rocca
Translation by Chloé Del Nero
HOUSE, LIVING AND BUSINESS

«The real estate bubble still hasn’t burst»

collaboratore — Tue, 16 Feb 2010 17:58:03 +0000

Robert Shiller, a Yale Professor, had foreseen the crisis and the burst of the internet bubble back in 2000. After having foreseen these major events, he reconfirmed his acuteness by foreseeing the US real estate crisis in 2005.Economist, essayist (he is also the Author, along with Akerlof, of the prophetic Animal Spirits – find the complete article “The great binge of the Animal Spirits”), Shiller is also a top notch businessman in the US.
Shiller is also known for the creation of the S&P/Case-Shiller index which is a nation-wide index used to calculate the price of single family houses in the 20 most important urban areas in America. On the last Tuesday of each month, around 9 am (3pm Italian time), America practically stops to have a look at the changes in the value of residential homes registered over the previous two months. The reason for this is that the real estate market is volatile by nature and it is a lever for the economy of the United States. One can get into debt only if the price of houses increases.
The above is proven by the fact that approximately 1.3 billion credit cards have been issued in the US: this means an average of over four credit cards per US citizen, newborns included. If even more proof is needed, one must observe that the average American, a social creature known for being on the verge of bankruptcy more times than not, spends between 60 and 110% more than he or she earns and this excessive expenditure is almost always made by means of a credit card rather than by means of cash.
For the record, the latest study conducted with the S&P/Case-Shiller Home Prices index was conducted on Tuesday, December 29th 2009.
This study presented very few surprises find the complete article and proof of the fact that the American real estate market is still not ready for a comeback; but what could be expected with 3 and a half million unsold houses?

Relax and take it easy Italians! There is no comparison to be made between the American real estate market and the Italian counterparty: the Italian real estate market is surely not a lever for the economy of the Bel Paese. The only thing to be done at this point was to interview the “Animal Spirit” himself in order to have his illuminated opinion on the ongoing economic and financial crisis.

According to Shiller, the US reacted to the crisis of the Thirties by reinforcing its financial system, while Europe punished its own financial system and continued to regret this sorry decision for decades after that. Shiller defends a unique theory which certainly deserves to enter all international political debates: according to this theory, the solution to the problem lies in the diffusion and democratization of financial markets, not in their limitation. During the annual meeting of the American Economic Association, Shiller stated that “we turn to a computer repair center when our laptop ceases to function: this is the kind of role a financial advisor should have”. The meeting we refer to is also the event during which numerous documents regarding financial errors were analyzed and where the use speculators made of these mistakes was unmasked. In order to avoid similar situations in the future and in order to avoid the diffusion of speculations based on fears and negative emotions which undermine the correct evolvement of the market, the financial culture at the basis of modern economies should be reinforced and increased.
This is the goal House Living and Business have chosen to pursue.

EXCLUSIVE INTERVIEW WITH ROBERT SHILLER

According to your past assertions, the real estate market is volatile and has continuous fluctuations.
The real estate market is volatile and unpredictable, especially now. We are at a turning point, at a critical moment in time and our future path is somewhat uncertain.
Why is it that, after the subprime crisis and after an initial decrease in the price of houses, the US has then witnessed an increase of these housing prices in 2009?
Prices have actually been witnessing numerous fluctuations since April 2009, especially in the US and in the UK they are increasing.
The «Animal Spirit» concept well applies to the American real estate sector, but, in Italy, this sector is not volatile. In our country (i.e. Italy), real estate properties are considered more an asset than an investment. How can your theories on volatility apply to our markets?
We hereby refer to an interesting article published on December 29th on “Il Sole 24 Ore” under the title “Se il rischio è ancora di casa” that stresses the point on a strong differentiation between the perception of the real estate market in America and the perception of that same market in Italy. find the complete article

I read that Italy is actually having a boom. I read that your prices are rising!
In Italy, almost 80% of the population owns a housing property, what is the situation in the USA?
The percentage of homeowners in the US was of 69.2% six years ago. This percentage has now gone down to 67.6%.
Americans go into debt in order to purchase real estate properties, but in Italy it is different. Banks do not hand out loans for the economy and Italians do not go in debt by taking out mortgages on their properties.
So what you’re saying is that in Italy you cannot obtain what we call a home equity loan (a type of loan granted based on the value of a house). In the US you can ask for a loan “on” your house. In Italy you cannot go to the bank and declare that you need a loan to go on vacation and then use your house as a guarantee on that loan.
You maintain that those who speculate on real estate properties do it by taking a chance on the political balance that limits the demand for houses. This means taking a chance on the temporary measures politicians pursue in order to respond to the crisis of the economy.
It is true that if governments impede the construction of houses they subsequently provoke an increase in their value. This measure, on the other hand, is not necessarily connected to the fact that the prices of houses have continued to rise. I think this is a misinterpretation on behalf of the public opinion and of journalists. Prices need to go up because we have a limited number of properties and a flourishing economy.
Will there be a limit to the increase of the prices of houses?
The public opinion and the press seem to think so, but this could only seem true because these prices are rising in a very slow manner.
If the Italian government were to limit the use of residential zoning areas, would the real estate markets finally return to stability?
The main issue is how safe the market is. I think people have too much faith in these theories. For example, we have just stated the fact that the prices of houses in America have registered a 30% fall and I think this could also happen in other parts of the world, even if the local governments are limiting the use of residential zoning areas.
Will the offer in this market continue to rise even if politicians pursue these measures?
It is difficult for the government to limit the offer because it always resurfaces in some way. It is difficult, it is like Monopoly. If the Italian government limits the offer in the area surrounding Milan, maybe it could also succeed in limiting the offer, but this offer will resurface in other parts of the country.
You state that banks have taken no precaution against bubbles. Why haven’t they, even if they knew the bubble would burst? Why didn’t the Federal Reserve act up even if it knew what was going on? Why were approximate measures applied?
I think they didn’t understand there was a bubble in the first place. They hadn’t noticed it. They had faith in the financial theorists who talked about an efficient market with pretty accurate prices. Doing this, they weren’t able to see the bubble.
So they weren’t able to foresee it?
Foreseeing something like a bubble is not so simple. It’s not that they totally didn’t recognize it, it’s that they didn’t believe what they saw and didn’t consider it.
What is your opinion in relation to what Pope Benedict XVI said in the first Angelus of the year when he stated that people should not trust economists, magicians and charlatans?
He said that? I had no idea, I didn’t hear that speech. I hope economy becomes more of a science than it really is. That’s the main problem. The fact is that most economist see what they want to see and this means crisis for the economic profession. I have just taken part in an international annual meeting on economy in New York. I took part in a session entitled why weren’t economists able to foresee the crisis? and in another session based on one question: what should we do with economy?. The economists who took part in this event were visibly embarrassed. It’s a real crisis for the category of economists.
What do you think of Happy Decrease movement and of the Green Economy?
Green Economy, as in sustainable economy, is sort of like a parallel between the economy and the general attitude towards the environment. In the years of the economic boom, people have not taken into consideration their limitations and they have only thought about obtaining what was best for them, without worries. This is what we normally call wishful thinking. Most people in America think there is absolutely no problem with the environment. They think that scientists are wrong and they believe what they want to believe. They think they can become rich and beautiful.Robert Shiller laughs while saying this
Do you think that an environmentally sustainable economy is possible?
We are running out of resources and we have a critical problem. We don’t have much oil left underground and we are exploiting what we have left. I think we should opt for nuclear energy and I also think that, when we finally do run out of oil, we will be able to develop an environmentally sustainable economy, also because scientists constantly invent new options for us.
So you’re an optimist?
Yes, I am.
What do you think about nuclear energy? Are you pro or con?
The problem here is terrorism. The access terrorists could have to nuclear energy is a serious problem, but maybe we will have no other choice besides choosing nuclear energy. The real danger is that these terrorists gain access to nuclear weapons and then use them against us in a war. It’s highly dangerous. I believe engineers will figure something out, but in my opinion the future of energy in itself is highly linked to nuclear alternatives.
Let’s take a step back. Is your index decisive in the valuation of properties in America?
I don’t know so far, but I think this kind of index will be able to change the real estate market in the future. More and more people, and not only in the US, take an interest in these indexes and new indexes are popping out on newspapers all over the world. These indexes will modify the perception people have of the prices of housing properties. I think people will become more and more speculative studying these indexes and they will start to consider their houses more and more like an investment related risk. These people will start to care about their housing investments and they will consequently start to worry.
If houses are now considered as investments, can they be compared to investments made on the stock market?
This is an interesting question. In the past, and by that I mean 10-20 years ago, there was no link between the stock market and the real estate market. These two entities had a tendency to move in different directions. Recently, they have become more and more connected and the prices of real estate properties fluctuate up and down in the same direction as the shares offered on the stock market. I think this change reflects the fact that now people see real estate properties as investments. Yes, I guess we could say that the prices on the real estate market have a tendency to follow the stock market.
Moving on to the «Animal Spirit»…even those who govern countries are driven by irrational motivations, by psychological issues, just like the consumers, the money savers and the real estate agents they rule over.
The animal spirits live in every one of us: the lie in consumers, money savers, businessmen and governors of central banks. It’s difficult to place the blame because this way of thinking is very diffused. Think of it this way: if you visit a country that is witnessing a war, it is very hard to figure out who to blame for the beginning of that very same war!Shiller laughs again The difficulty lies in the fact that everyone shares the same opinion, even if it might be the wrong one. This is what we commonly call the business cycle infatuation.
Politicians should act as referees in the economy, but how can they? Should they really try to maintain a certain balance in the economy?
There is some truth in your statement. Recently, about a couple of years ago, people would have said that the governors of the central banks shouldn’t have tried to express their opinion in relation to the real estate market and in relation to the stock market because they do not have knowledge of these two entities. This is what people used to say. On my part, I think these central banks should become “philosophers” of the economy. They should take their time and make a better use of the resources that do not work and really try to understand what is going on. If we don’t let them do this, no one else will help people make sensible decisions.
So the Government should be an active player in the economy? Should it try to stop the mechanisms of pure free trade?
This is a very difficult question to answer Shiller laughs once again. I think public figures such as the representatives of central banks or of governments should have some kind of responsibility in openly saying there is a bubble in the economy and in telling everyone what is going on. This is a useful strategy in order to take action and stop the bubble. Regulating the market in order to prevent the bursting of the bubble is what should happen in economic markets. We need people with a public responsibility in monitoring these situations, we need people who talk about these bubbles and who actively reduce their dimensions. If we lack public leaders who try to prevent these bubbles from surfacing in the economy, I really doubt the businessmen men of the private sector would take action in their place. Governments should have this active role and they should reduce the dimensions of any kind of economic bubble, even if this is done in an imperfect manner. This is basically what should happen.
I think the world of financial prices is very complicated and there are many other things which should be done. This is one of them. We should definitely have governments that take an interest in the entire economy.
Do you think governments should be afraid now?
I think they are less afraid now that they were 5 years ago. 5 years ago, economists would have told governments that they shouldn’t try to have an active role in the economy based on the principle that the governments are not the ones with the brains: the economists have the brains, so governments should mind their own business. Recently, during the G20, economists have rethought the idea of regulated economic systems. There is now a new idea in relation to the economy: now, people seem to think that we need interested and active governments which worry about the real estate bubble.
By saying this, do you mean that we need an ethical government?
No, all I refer to is the current state of the economy and it’s nothing so radical. All we need is a government which “talks” to its people and takes active measures for the reduction of the bubble. We really need this against the threat of the real estate bubble.
With regards to Italy, do you know this country? What do you think of its economy and of its government?
Shiller laughsI read about these issues on various newspapers. I do not deal with the Italian market. All I know is that there is a world that is developing and that this world is becoming stronger by the day. What I understood is that the history of Italian economy is traditionally full of small manufacturing companies with a good structure.
Have you been contacted by other members of the Italian press?
Yes, on many occasions. 5 years ago, for example, I was contacted for a conference on the Italian economy in Milan. I said something positive because Italy has always had the longest history of economic success in the world. The Italian economy has its origins in the history of Ancient Rome and the history of its success has no equals. I am optimistic in relation to the future of the Italian economy. Everything has its origin in the intellect of people and Italians are one of the most intelligent and creative populations in the world. I consider these qualities decisive in work too.
Our TV stations only contact American economists who support free trade…
Professors tend to be liberal mainly because they are professors and not businessmen. I have personally started up a couple of business activities. I am the owner of a company called MacroMarkets so I have a direct connection with the business world and in any case I think we need a market economy.
What do you think of Noam Chomsky’s analysis of today’s capitalism?
He is very liberal. I am quite different from him. I am “in” the government, but I still consider this to be an interesting issue. I thinks governments should behave like the referee in a soccer match: they should make sure that everything is done in compliance with the rules, but the game is made by the players, not by the referee.
You have foreseen the two great bubbles of the past century. Will the green economy be the next bubble?
Shiller laughs againIt’s very difficult to say. I think we are still not done with the current bubble which is still in its bursting process. I am not in the position to identify the next bubble just yet. All we can say is that the prices of houses are continuing to rise and so are the stock market prices. The thing is even I still do not know what direction this is all going in, so I am not able to make a reliable forecast on the future of the economy.

Milan, 29 January 2010
Giovanni Pivetta
Translation by Chloé Del Nero
HOUSE, LIVING AND BUSINESS

Coffins, sticks and glasses for Ilsa Parry, the starlette of “Design for life”, Starck’s reality show

collaboratore — Tue, 16 Feb 2010 17:45:42 +0000

As if youngsters on a deserted island, wannabe cooks, uncertain top models weren’t enough, BBC2’s TV programming schedule has been enriched by Design for Life, a talent show focused on designers. Design guru Philippe Starck – yes, the same one who only recently had declared that design was dead and it had left its place to the eco-sustainable - chose 12 contestants for the show. These contestants have competed against each armed, armed only with ingenious projects, amongst which we certainly remember a vertical coffin thought for space saving in cemeteries and noose shaped light bulbs. The winner for this season is Ilsa Parry, a 29-year-old designer from Liverpool and the prize is a 6 month internship with Starck. But Ilsa’s carrier started way before Design for Life: she has already taken part in shows, won prizes and she has even taught design.
Why have you decided to show yourself to the world by means of a reality show?
This was a great opportunity for me and it gave me a chance to see if my ideas could adapt to an high level and professional design. Before the show, I worked in my studio, I invented prototypes and in the meantime I taught in order to have the economic support I needed in order to realize my prototypes. I wanted the opportunity to meet someone like Starck and learn something from his experience. More than anything though I wanted to make my ideas and projects turn to reality.
What difference is there between Design for Life and the Big Brother?
In my opinion, this was an opportunity to show everyone my talent and to learn something more about the design industry. The fact the show was broadcast on TV was obviously positive for me because it let me express my opinions and make my voice heard. Comparing this show with the Big Brother is difficult because the contestants of Design for Life had a schedule, a personalized agenda for each day. Philippe Starck wanted to use the show to express his opinions and to show the world what he considers products of design. For us it meant that everything revolved around him and around our will to prove our talent. The message was pretty intellectual and centered on design and the goal was to raise the interest of those who are into design and not of those who are into the Big Brother. In order to raise the audience, the authors obviously had to make the show a little more similar to the Big Brother and they had to focus on entertainment so that our viewers wouldn’t lose interest and would continue to watch us every day.
Were you on camera 24/24h?
No, not in the same way as on the Big Brother. We didn’t have hanging cameras, but the producers stayed with us so they would sometimes interview suddenly.
Did you use this opportunity to show off your personality as well or did you use it to show off your work and design idea? Did your personality emerge at any time?
There weren’t many occasions for my personality to come out or for me to show my life, my friends to the audience. Nonetheless, I think my work and my way of thinking did emerge in the program. I wanted to exhibit my ideas and the program focused exactly on this concept. I’m glad that these ideas were valued during the show and that Design for Life was able to show the audience my work style.
Most of the English press has criticized Starck and the program heavily by stating that the French designer hadn’t chosen the best contestants and that his real goal was to discredit English design.
Parry laughs I don’t believe that at all.
Do you think the press says that because Starck is French?
Yes, although I don’t agree with it. I really don’t think that was Starck’s intention. I think he had a message to communicate to the public in relation to what he considers good design. He based the selection of the contestants on this concept. He evaluated the projects and the concepts presented to him by possible candidates without meeting them in person. In the beginning, we only spoke to the production staff and not directly with Starck because he is so busy. The candidates who asked to participate in the show had just graduated or were keen on entering the design industry.
Why did you present a project on a vertical coffin in order to be taken into consideration for the program? Is it because Starck seems to be obsessed with the idea of death or is because of an existing issue with lack of space in cemeteries in the UK?
I knew nothing of Starck’s ideas before the program. I have never really followed his work and before Design for Life I was totally unaware of what he thought or did. I went to Design for Life without knowing how he was and without having any kind of knowledge of his opinion on design or of his reputation.
So why did you choose this project?
The coffin projects has its origin in Starck’s request for examples of design with a strong concept behind it. This is the reason why he declared both to the press and to the potential contestants that also ideas with no possibility of concrete realization would be considered. I presented a new idea for coffins that is based on the idea of helping to save space in cemeteries.
The first assignment you were given was to buy environmentally friendly and sustainable products. What did you buy? It seems as though Starck did not appreciate your choices.
Starck was pleased with my choices. I bought two objects: a glass bowl (an example of good design) and a technological device thought for cutting and mixing salad mechanically (an example of bad design). I proved that I could use my own hands to chop and mix the salad in the bowl by using only one object. This way I obtained the same result I would have obtained by using the mechanical device, only I did it reducing the use of industrial processes and materials to the minimum. The glass bowl I chose can also be used for many other purposes.
Were you inspired by the Viking horn when you designed your Pippa and Spyke products? (see photo 1 here below)
Absolutely not. Just like with my coffin project, I was inspired by the earth. I think our earth isn’t being exploited to its full potential in everyday life and I think it could be used in a more interactive manner. Just think of pic-nics!
You realized two products that present an incredible generational gap: the lighting fixture Kaspa (photo 2) for kids and the walking stick Flo (photo 3) for older people. Why the difference in age-based targets? We understand that you were inspired by your part-time job as a nurse for Flo, but why the ghost lamp for kids?
I have never designed products for a specific market or target. What I have done is think of something that could bring benefits to a group of people. In my work, I am inspired by the cycles of life and I try to maximize the opportunities of usage of materials by studying their potential benefits. In relation to Flo, I thought it could bring a sort of extra-life and a further motivation to continue moving. Kaspa only lights up when it is dark and does not imply a waste of energy. This way we educate kids and our future towards energy and natural resource saving.
Is this sensitivity towards ecology yours or were you influenced by Starck’s new ideas?
No, it is all mine. Proof of this is the fact that I ideated Kaspa before Design for Life began.
Is it true that you declared that you do not agree completely with Starck’s ideas? In what aspects are you similar? And in what aspects are you different?
The common elements between us are the will to create something that can bring benefits to others and the idea to use as little materials and industrial processes as possible. It is also important for design products to be elegant and that it has a visual appeal because beauty and benefits are closely linked. The way in which we consider an object of design in of fundamental importance. All these design related elements are of vital importance because if consumers do not like an object of design, they will not use it; therefore they will not obtain any kind of benefit from it.
And the differences between you and Starck?
I think every project of mine has its own history. I have a more emotional approach to my work, whereas Starck is more functional and practical. He is more for functionality and I am more for functional emotionality.
Starck says that design is over and that the modern world needs to focus on ecology. Is he playing around with us?
Parry laughsI think good design should be sustainable in any case and I think it is very difficult to assert that it is dead.
So this assertion of Starck’s is only a marketing move?
I don’t think so. I think what Starck wanted to say is that this is the right time to start thinking about sustainability and about the materials we use. It is also the right time to start talking about these issues openly. The world of design needs to become more humble.
According to the vast majority of the British press, Nebil Avas’ ideas were more in line with those of Philippe Starck. Why did he choose you?
I didn’t know who he was and during the show I didn’t have much time to get to know him. I think Starck chose me because my projects responded to his requests. He saw my determination and and he saw my strong belief in what I was doing.
In what way did you surprise him? Did he acknowledge your talent?
In the beginning, my production process was pretty complex. I was then able to simplify it and I showed this to Starck because he had only seen a couple of my projects, without knowing anything in relation to the realization process that derived from my ideas.
Among Philippe Starck’s recent works, we saw his speakers for Zicmu. What do you consider eco-sustainable about these products?
When I first saw them, I thought they were a little excessive for their function. I honestly do not know what could be considered ecological or eco-sustainable in this kind of product. I think he created a product that is appealing to a specific target of consumers who can afford to spend more than others and that is commonly insensitive to the waste of materials. Starck’s reinvention of high quality speakers can avoid this kind of problem.
Starck has declared that he will never again create objects of design destined to rich people and that he will never again create objects in limited editions.
Yes, I am aware of the fact that he said that although I do not know why he did. In my opinion, Starck’s words contradict his actions.
What are the eco-sustainable elements in the product Flo that you invented and created during the show?
I wanted to design an object that could help people to walk and that could make the quality of their lives better. To me, eco-sustainable means giving benefits to whoever uses a certain product and it also means using as little material as possible. I have tried to give some personality to the product in order for people to use it to their maximum benefit.
Must your design always be environmentally responsible?
Yes, I always take this aspect into consideration both when my products are created with a specific environmental role and responsibility and when they are created by focusing on who will use them.
Have your received compensation or a salary during your internship?
No, I didn’t. I was only granted the right to stay in an apartment in Paris.
How was your internship experience?
First of all, I learned how to use new software programs and I was also to collaborate with Starck’s wonderful staff. It was a great opportunity for me to develop and create my projects without the pressure of my everyday work life and without being stressed by my financial situation.

We only found out that BBC2 had broadcast the show with a 12 month delay from asking Ilsa Parry about her internship experience since the British media (i.e. newspapers and magazines) did not cover this story. Ilsa Parry’s internship in Starck’s studio took place between January and July 2009.


1. PIPPA E SPYKE	2. FLO	3. KASPA

Milan, 29 January 2010
Giorgio Rossi
Translation by Chloé Del Nero
HOUSE, LIVING AND BUSINESS

Sostiene Pereira? No, Sostiene Vecchio!

collaboratore — Sun, 31 Jan 2010 11:58:35 +0000

Il primo settembre del 2007, gli imprenditori siciliani di Confindustria, riuniti a Caltanissetta, assumevano una posizione forte antimafia, espellere chi paga il pizzo. Gli imprenditori che accetteranno le regole del racket saranno cacciati. La norma entrò nel nuovo codice etico degli industriali. Gli imprenditori che non si ribellano al racket delle estorsioni pagando il pizzo e che in qualunque forma «collaboreranno» con la mafia saranno espulsi da Confindustria. La norma, dopo quasi tre anni, è stata inserita nel codice etico di Confindustria a livello nazionale. Chi violerà la norma sarà sanzionato, in base alle disposizioni del codice, sino all’espulsione.
Un anno dopo, due anni dopo, oggi, in Sicilia non è successo ancora nulla. Vale a dire, le sezioni di Confindustria di Catania e Palermo non forniscono collaborazione alla strategia antimafia, di espulsioni per il pizzo nemmeno l’ombra. E chi lo denuncia è Ivan Lo Bello presidente degli Industriali siciliani. A Catania, Andrea Vecchio, che è anche presidente dell’Ance Catania, l’associazione dei costruttori, a cui hanno fatto saltare in aria cantieri e mezzi edili. Confindustria voleva «cacciare» via lui dall’associazione, e non chi è colluso o fa il prestanome dei boss.
A Vecchio, sotto scorta da anni, perché la mafia minaccia di vendicarsi, era stato contestato di aver rilasciato dichiarazioni sul conto di Confindustria Catania secondo cui qui esiste uno «strapotere subìto dagli industriali», con un chiaro riferimento ai vertici dell’associazione etnea. Per questo, nei suoi confronti, era stato avviato un procedimento davanti ai probiviri. Alla fine di ottobre dello scorso anno lo hanno pure rinviato a giudizio per simulazione di reato. La Procura di Catania a seguito della sua denuncia per due telefonate mute giunte in una notte del marzo del 2008 alla sua abitazione, che non hanno trovato riscontro secondo le indagini svolte dai carabinieri, lo porterà per il giudizio immediato davanti al giudice monocratico il 1 giugno del 2010.

Andrea Vecchio, imprenditore catanese di 67 anni, titolare della Cosedil Spa, impresa edile con 250 dipendenti e oltre 20 milioni di euro di fatturato, presidente provinciale dell’Ance Catania …incarnava secondo il più classico pensiero dell’antimafia, l’uomo onesto che combatteva contro i soprusi del sistema mafioso. Non è certo un uomo qualunque, Andrea Vecchio. Ora tutto viene messo in serio dubbio perché la magistratura l’accusa di aver giocato sporco. La storia è di quelle che dovrebbero far riflettere: Vecchio, secondo i magistrati, avrebbe riferito di aver ricevuto presso la sua abitazione telefonate di minacce che si sarebbero rivelate inesistenti. Un fatto che come dicevamo deve far riflettere sulla situazione dell’antimafia e delle scorte che come abbiamo più volte ripetuto, appaiono come un vero e proprio status symbol e un modo indiretto per lo stato di dichiararsi sconfitto nella lotta alla delinquenza organizzata. Note di stampa riportano che Vecchio sia stato promotore di numerose iniziative e di battaglie contro l’usura e questo, secondo alcuni, dovrebbe essere sufficiente per “sorvolare” su un fatto grave come la simulazione di reato. La cosa ci appare quantomeno inverosimile, lui, scortato e presumibilmente sempre in contatto con la magistratura, non era a conoscenza di essere indagato? A noi la cosa appare alquanto strana così come appaiono poco credibili le sue affermazioni circa i fatti oggetto di indagine e di rinvio a giudizio. D’altra parte neanche i magistrati gli hanno creduto… dal sito osservatorio-sicilia.it

Perché riportiamo questa spazzatura pseudo giornalistica infamante?!

Continua a leggere su EcoHousing-art.it

Expo 2015 - un’emergenza, o Bertolaso o una legge speciale gestita da Milano

collaboratore — Fri, 29 Jan 2010 11:52:57 +0000

» Iscriviti gratis, lo leggerai in anteprima.
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Architettura, Design, Edilizia, Costruzioni, Real Estate, Tecnologia, Arte, Arredamento, Antiquariato, Cultura verde, Life style, Fiere, Mostre, Libri, Eventi, Convegni, Incontri, Corsi, Workshop gli argomenti della rivista on line edita da House Company Edizioni.

HOUSE, living and business è la rivista dell’Industria dell’Abitare.
Un innovativo strumento d’informazione, on line dall’8 gennaio 2010, abbinato a IMMOBILIARE, la prima guida italiana all’Industria dell’Abitare (in preparazione)
e ad «ECOHOUSING ART, opere e progetti per abitare gli spazi» 1a edizione del Concorso Nazionale riservato a Junior e Senior artisti, designer, architetti e ingegneri (iscrizioni aperte fino al 30 aprile 2010).

Il sommario di House living and business
il Web Magazine della green economy e dell’Eco pensiero

- EXPO 2015
A millenovecentodiciannovegiorni all’alba da un evento epocale come Expo Milano 2015, al secondo numero del nostro web magazine apriamo la finestra dell’informazione con 5 pezzi non facili che ricostruiscono dalla candidatura di Milano, all’organizzazione, al conceptual masterplan, alla petizione presentata per un Expo diffusa e sostenibile, al dibattito che ci riporta la notizia
che per realizzare Expo 2015 sarà necessaria varare una legge speciale in deroga alla Merloni o affidare a Bertolaso e alla Protezione Civile come se l’Esposizione Universale di Milano fosse da trattare come un’emergenza del Paese.
ECONOMIA
«La Bolla immobiliare americana deve ancora scoppiare»
Intervista esclusiva a Robert Shiller economista dell’Università di Yale autore con George A. Akerlof del bestseller “Spiriti Animali” di Giovanni Pivetta e Dayana Ghezzi
- REAL ESTATE
«Il mercato immobiliare non crollerà nel 2010, perché non è mai esistito!» Nel frattempo i prezzi non crolleranno perché in Italia, a differenza degli Usa dove l’immobiliare è leva per l’economia, possiamo avere e continueremo ad avere “bolle territoriali” di Giò Pivetta
- EDILIZIA
Giuliano Campana - Imprenditori edili sovversivi,
«i cosacchi del mattone», alle porte di Roma
Intervista al Vicepresidente nazionale dell’ANCE di Giovanni Pivetta
- ARCHITETTURA
Mario Botta «Io, un architetto del passato, archistar chiedetelo ai sociologi»
Cino Zucchi, «Le archistar, bombe sexy
e l’architettura, fiera delle vanità»
Enzo Eusebi, «Fuck the contest» per Koolhaas,
nelle metropoli solo architetture totemiche
Interviste a 360 gradi sull’architettura ecosostenibile di Greta La Rocca
- DESIGN
Andrea Branzi, L’ecodesign è cultura della conservazione,
facciamo un movimento post ambientalista
Paolo Deganello, «Io designer sputo nel piatto del mercato»
Intervista doppia ai fondatori, negli anni 70, del gruppo d’avanguardia Archizoom
che partecipò alle vicende dell’architettura Radicale di Amalia Di Carlo
- REALITY DESIGN
Ilsa Parry « Philippe Starck, a the bello gallico il bastone ecosostenibile»
Al telefono con la designer di Liverpool vincitrice di “Design for Life” il reality show della BBC costruito intorno alla star francese del design di Giorgio Rossi
- URBANISTICA
Michel Maffesoli «Nelle città del futuro,
gli stili di vita saranno tribali»
L’eretico, il creativo, il cattivo maestro della sociologia francese, che a La Sorbonne di Parigi occupa la cattedra che fu di Emile Durkheim, ci fa delle anticipazioni sul nuovo libro “Apocalisse. Rivelazioni sulla società postmoderna” di Daniela Paola Aglione
- IL CASO
AAA Architetti, Artisti, Designer, cercasi intellettuali
Gio Ponti era un intellettuale, è un’intellettuale contemporaneo. Intellettuali, ritornate a parlare intorno alla “cultura del fare” di Giovanni Pivetta
- FIERE
- ARTEFIERA, Julia Draganovic e Bill Viola, le superstar
- MADE EXPO, Energia e sostenibilità, dream o green economy?
- MOSTRE
Il cartellone di gennaio-febbraio 2010 a cura di Cristiana Ceruti
- LIBRI RIVISTE
Gio Ponti «Quando l’arte s’innamora dell’Industria» di Ugo La Pietra
a cura di Daniela Paola Aglione
- EVENTI
Una notte di follie con Eva Robin’s a Bologna

Una notte di follie con Eva Robin’s

collaboratore — Thu, 28 Jan 2010 19:15:40 +0000


Dario Gambarin, The hope is in the land	Teatro di Villa Mazzacorati, Bologna

Esistono modi e mode di fare un hommenage. Eccone uno: prendete 200 grammi di marzapane, 50 di pistacchi, 300 di cioccolato fondente e crema di nocciola q.b. Poi seguite l’antica ricetta salisburghese di Paul Fürst (medaglia d’oro nel 1905 alla fiera di Parigi) e preparatevi a gustare le deliziose Mozartkugeln, le “palle di Mozart”, che il pasticciere s’inventò in occasione del centenario della morte del conterraneo Wolfgang Amadeus Mozart (Salisburgo 1756, Vienna 1791, 1890 nascita del pasticcino).
Oppure prenotate un posto al Teatro di Villa Mazzacorati a Bologna sabato 30 gennaio, ore 20.45, per assistere di persona a “Il viaggio di Wolfango a Bologna” (ndr. fuori dal programma di ArteFiera), il concerto - performance con musiche di Mozart: alla viola l’Orchestrale del Teatro Regio di Parma Giuseppe Donnici, Marco Verza al clarinetto e Kim Young Mi al piano, dirige e dipinge l’artista veronese Dario Gambarin, Eva Robin’s nella lettura di brani tratti dalle lettere del compositore.
A proporre l’evento è DAGM ART - follie musicali - un progetto di Dario Gambarin, artista poliedrico che spazia dalla pittura espressionista alla performance, alla land art. Suo The hope is in the land: Obama nasce dalla terra, Castagnaro - Verona 2009, la performance di 90 minuti in cui l’artista, in occasione della visita in Italia per il G8, ha ritratto il Presidente degli Stati Uniti con trattore ed erpice su un campo di 27mila metri quadri (Guarda il Video QUI che ha fatto il giro delle televisioni di tutto il mondo). Cofondatore del progetto è Giuseppe Donnici, violista, socio della NU-ORK String Quartet, prossimamente in tournè con Lucio Dalla e Roberto Vecchioni.
L’idea dei due artisti nasce per la divulgazione di musica, pittura e belle lettere e, in questa occasione, si avvarrà degli attributi timbrici del bolognese Roberto Coatti - in arte Eva Robin’s - che, ai primi di marzo al Teatro Puccini di Firenze, vestirà nuovamente i panni di Mirandolina, la locandiera goldoniana alle prese con avventori e pretendenti, tra cui il Marchese di Forlipopoli interpretato dal regista Andrea Buscemi.
“È brava e trovo che sia molto sensibile. Siamo tutti in amicizia, per questo ci troviamo in sintonia e durante la serata è probabile che improvviseremo qualcosa che non è in scaletta; forse sarò io ad aprire, suonando il piano” dice l’amico Dario Gambarin, che nel 1984 ha interpretato la parte del violoncellista Francesco Piantanida nel film “Noi tre” di Pupi Avati, la pellicola che appunto racconta del soggiorno di Mozart a Bologna.
Come da programma, si potranno ascoltare circa sette brani tra cui l’aria “Voi che sapete” - da “Le nozze di Figaro”, o “Vedrai Carino” - dal “Dongiovanni”. Dario Gambarin dirige con la mano sinistra, precisazione obbligatoria perché con la mano destra realizzerà contemporaneamente una “rischiosa” performance pittorica en plain musique su tela montata su cavalletto. Rischiosa perché Gambarin si assume tutta la responsabilità della duplice esecuzione, in un vero e proprio sdoppiamento: non esiste tracciato - come accade nelle sue performance di land art - ma un “tempo che è ritmo, è armonia, sia nella pittura che nel movimento”.
Il 14 gennaio dell’anno scorso, sempre al Teatro di Villa Mazzacorati, Dario Gambarin si esibì per la prima volta nella sua action music painting assieme al cantante degli Skiantos Freak Antoni, con musiche di Back e di George Frideric Handel e la lettura di alcune poesie di Baudelaire. In quella prima occasione dipinse “la gondola” un quadro che conserva come ricordo, nonostante le numerose richieste d’acquisto. La sua presenza agli eventi musicali non è nuova, ha lavorato col jazzista Teo Ciavarella al Ferrara Jazz nel 2008 e con Roy Paci, occasioni in cui ci racconta di aver dipinto al ritmo di musica. Come il concetto di assunzione del rischio, Dario Gambarin sente molto il concetto del tempo: “Troppi quadri vengono finiti fuori tempo” un aforisma tratto dal suo libro in uscita nel 2010 “Riflesse Riflessioni” (Ed. Campanotto), per cui ci spiega che talvolta gli artisti intervengono sul quadro “dopo”, un gesto anacronistico rispetto all’originalità del momento d’ispirazione-esecuzione. Anche nelle sue opere di land art il tempo ha un ruolo chiave. Il segno lasciato sul terreno dal trattore è assolutamente temporaneo perché a fine giornata il trattore passa di nuovo cancellando l’opera per sempre. Opera che - fa bene ricordare - non solo non compie violenza sulla terra su cui è tracciata, bensì contribuisce in fertilità perché la smuove prima della semina.

A fine serata non verranno offerte le Mozartkugeln. Le originali si gustano solo a Salisburgo.

MADE EXPO 2010:Energia e sostenibilità, dream o green economy?

collaboratore — Thu, 28 Jan 2010 18:44:47 +0000

Quando aziende d’eccellenza, progettisti e istituzioni si incontrano in un dantesco convivium, significa che siamo di fronte ad un poliedrico banchetto di sapienza. A questo si aggiunga che la sala del convivio si trova nel nuovo padiglione fieristico di Milano e dura quattro giorni, dal 3 al 6 febbraio: abbiamo MADE Expo 2010. Vale dunque la pena destare tutta la nostra attenzione mentale e tutti gli appetiti di conoscenza e di business, perché tra gli stand milanesi si costruisce l’abitare di domani. Letteralmente.
Alla sua terza edizione, la giovane esperienza fieristica vanta la certezza dei numeri in crescendo. Anno zero, 2008: 170.779 visitatori per 1.914 espositori. Anno uno, 2009, l’anno della crisi, nonostante la leggera flessione delle partecipazioni espositive, pari a 1.739, quindi 175 espositori in meno, l’appuntamento col mondo delle costruzioni ha registrato 200.126 presenze, per un + 17,1%. La chiave del successo va ricercata innanzitutto in una rinnovata attenzione nei confronti dei settori architettura ed edilizia, due fondamentali comparti dell’Industria dell’Abitare italiana che allargano il quadro prospettico in un’ottica di sostenibilità, di energie rinnovabili e di soluzioni tecnologiche integrate per un nuovo equilibrio tra uomo, casa e ambiente. Inoltre è mirabile l’impegno degli organizzatori di MADE Expo nella ricerca delle eccellenze di livello internazionale per offrire al visitatore professionista una reale opportunità di approfondimento tecnico-culturale e favorire relazioni in un’ottica di aperture interdisciplinari, l’unica logica per poter offrire un prodotto casa altamente competitivo nell’era del cliente, caratterizzata da competenza e attenzione alle tematiche in materia di benessere e qualità dell’abitare.
Con la chiusura del 2009 la fiera scende in campo partecipando al XIII Convegno di Ingegneria Sismica, organizzato da ANIDIS Associazione Nazionale di Ingegneria Sismica di giugno, poi al 54° Congresso Nazionale Ordini Ingegneri d’Italia nel mese di luglio.
Lavori preliminari per inquadrare la fiera di quest’anno quale unico appuntamento di rilievo a livello europeo, per reali opportunità di business e di vetrina. Nell’evento di presentazione dello scorso settembre, infatti, Andrea Negri (Presidente Made Eventi srl), Giulio Cesare Alberghini (AD Made Eventi srl), Libero Ravaioli (Presidente UNCSAAL) e il Presidente di FederlegnoArredo Rosario Messina, annunciano una serie di importanti azioni dirette e collaterali con lo scopo di promuovere, sostenere e sviluppare sinergie tra aziende espositrici e visitatori: per l’anno 2011 il calendario fieristico slitterà ad ottobre, dal 5 all’8, per rafforzare il processo di internazionalizzazione; è stata stipulata una convenzione con Banca Popolare di Milano per il finanziamento degli espositori e presi accordi con ALITALIA, alberghi e ristoranti dell’area attigua per agevolare visitatori nazionali ed internazionali. Gli appuntamenti fondamentali di quest’anno toccano molteplici ambiti interdisciplinari.
CIVITAS, una città virtuale di 3.000 mq progettata e curata da UNCSAAL con la firma di Enrico Dusi - eccellente scenografo attivo in campo teatrale e televisivo - è la sfida espositiva 2010 che coniuga prodotti innovativi in materia di domotica, energia, sicurezza e progettualità urbana in una scenografia-installazione dal forte impatto emozionale, suddivisa in quattro ambientazioni: Via Vertigo, Via dell’Energia, Via della Sicurezza e Via del Silenzio.
Borghi e Centri Storici, in collaborazione con Borghi srl, è dedicata alla riqualificazione conservativa dei centri storici e del patrimonio architettonico e culturale, attraverso le competenze della filiera del restauro, della bioarchitettura e della progettazione. L’attenzione verso una rinnovata centralità funzionale e culturale del cuore storico delle oltre 5.000 città italiane coinvolte è fonte di interessanti opportunità socio-economiche: dai processi aggregativi, alle occasioni culturali e commerciali, quindi turistiche, per un indotto suggestivo e promettente.
Per questo, in occasione di MADE Expo 2010 verrà lanciata la prima edizione del Premio Borghi che, con spirito interdisciplinare, avrà come tema il recupero, la valorizzazione e la rifunzionalizzazione dei borghi e dei centri storici. I lavori più interessanti saranno sviluppati in occasione dell’edizione successiva.

Con il Forum della Tecnica delle Costruzioni, si conferma la centralità dell’Ingegneria Strutturale nell’edilizia. Progettisti, geometri, imprese, committenti, fornitori ed istituzioni hanno occasione di stilare un quadro previsionale sulle differenti opportunità strategiche attraverso soluzioni innovative, sostenibili e di qualità, con l’ausilio di un comitato scientifico composto da 20 membri tra professori delle diverse declinazioni di ingegneria e/o direttori di dipartimento, provenienti dalle principali Università italiane.
Anche le nuove idee trovano spazio: oltre all’area tematica della Borsa progetti, che consente alle aziende di conoscere e acquisire i progetti di ricerca che le principali Università italiane presentano tramite supporto multimediale, sarà allestito uno spazio che ospiterà i modelli di tutti i premiati della seconda edizione del concorso InstantHouse promosso da Federlegno in collaborazione con la Regione Lombardia e il Politecnico di Milano, che ha avuto come tema Temporary housing_SOUNDSCAPES, l’ambiente e il paesaggio sonoro nelle città contemporanee. I tre progetti vincitori sono stati prototipati in scala reale per l’occasione.

Primo Premio alle nuove leve dello IUAV di Venezia Marco Gazzola (Pordenone), laureato in Architettura per la sostenibilità, Elisa Fortuna (Thiene, VI), laureata in Scienze dell’architettura, Elena Panza, (Carmignano di Brenta, PD), laureata in Scienze dell’architettura, con Abitare oltre il muro del suono, un progetto di barriera continua realizzabile con materiali locali per proteggere gli spazi individuali dall’inquinamento acustico, applicabile per esempio a soluzioni abitative in prossimità di reti ferroviarie.
Secondo premio a Chen Jun Ho (Milano), laureato in Architettura presso il Politecnico di Milano con il progetto [instant], unità abitative mobili da realizzarsi con una parte interamente prefabbricata trasportabile su gomma e una parte con struttura montabile a secco. Il progetto è pensato per la presenza delle strutture mobili presso realtà urbane ospitanti, in occasione di eventi metropolitani, isolando gli abitanti dall’inquinamento acustico autostradale.
Terzo premio a Gabriela Pinto (Felgueiras, Portogallo), laureata in Architettura presso la Escola Superior Artistica di Porto e Diogo Ramalho (Matosinhos, Portogallo), laureato in Architettura presso la Faculdade de Arcuitectura Universidade di Porto, con il progetto Temporary housing units for Expo 2015’s young guests una piccola soluzione abitativa racchiusa in una cellula di sughero - 100% riciclabile - in grado di filtrare suoni, ma anche luce. La recinzione è applicabile a differenti soluzioni.

Milano, 29 gennaio 2010
Cristiana Ceruti
HOUSE, LIVING AND BUSINESS

Julia Draganovic e Bill Viola superstar di ArteFiera 2010

collaboratore — Thu, 28 Jan 2010 18:35:22 +0000

ArteFiera 2010: entra in scena la tedesca Julia Draganovic - critica e curatrice d’arte che vanta nel suo curriculum la direzione del Chelsea Art Museum, del Kuratorium Schloss Ettersburg e del PAN di Napoli - con Here and Now, l’evento di Art First che contamina d’arte la città di Bologna trasformandola in galleria a cielo aperto. Dal 29 gennaio 2010 fino al termine del mese di febbraio, installazioni site specific apriranno una continuità modernità-passato e la sfida del presente. Alcuni esempi: Angela Glajcar in Galleria Cavour, Daniel Knorr nei cortili tra Accademia e Pinacoteca, Giuseppe Maraniello nel cortile di Palazzo d’Accursio e tanti altri che prolungano nel tempo e nello spazio l’occasione di incontro con l’arte.
Aprono le danze l’installazione video dell’artista Bill Viola (ndr. nella foto le due star della fiera, Julia Draganovic ed un frame dal lavoro di Bill Viola “Fire Woman” - 2005) nel contesto dell’esecuzione di “Summa“, di Arvo Pärt, diretto da Tõnu Kaljuste (Tallinn - Estonia, 1953) eseguito dal Parco della Musica Contemporanea Ensemble e dal soprano Arianna Savall (Basilea - Svizzera, 1972), imperdibile appuntamento di venerdì 29 gennaio alle ore 20.30 presso l’Aula Magna Santa Lucia di Via Castiglione 6, ingresso libero fino ad esaurimento posti.

Gli appuntamenti sono solo all’inizio: sabato 30 gennaio dalle 20.00 inizia Art White Night, la notte bianca che vedrà aperti spazi privati e pubblici - ingresso gratuito - negozi e luoghi di ritrovo per una full immersion al chiaro di luna. L’anno scorso il conteggio al Museo Civico Archeologico, che conserva reperti egizi di rara bellezza (tra cui il Sarcofago di Tasciakheper e di Irinimenpu), ha smesso di contare - per sfinimento - alla 3millesima visita.

Tra le occasioni di Arte Fiera Off, il fuori salone di ArteFiera, ricordiamo che in Piazza Santo Stefano 13, dal 28 al 31 gennaio, ore 19.00-22.00, il Sal8 di Syusy e Nipple2 Art Gallery di Aykan Begendi presentano la mostra di Raul Gabriel - artista che utilizza l’iconografia simbolica nomade e la contamina nel segno urbano, nella Yurta. La Yurta di Syusy è un esempio di abitazione nomade solare sostenibile presentata al SAIE, la fiera dell’edilizia, il 29 ottobre scorso e che si propone come simbolo e prototipo di casa ecologica del futuro. La Yurta di Syusy nel contesto della proposta “Nomadizziamoci”, è un ulteriore e interessante esempio di come arte, culture, architetture si “parlino”.

A proposito di parole, rientriamo nel quartiere fieristico e prepariamoci ai tre appuntamenti di Art Talks. Il primo è venerdì 29 dalle 11.00 presso la Hall 18, tema Il Museo Privato. Modera Gianfranco Maraniello Direttore del MAMbo di Bologna, relatori Mami Kataoka, Chief Curator del Mori Art Museum di Tokyo, Sylvain Levi, fondatore DSL Collection (Private Chinese contemporary art collection) di Parigi, Alfio Puglisi Cosentino socio fondatore di Fondazione Puglisi Cosentino di Catania, Ella Cisneros fondatrice del CIFO - Cisneros Fontanals Art Foundation di Miami, Florida. Sabato 30 gennaio, stessa ora stesso luogo, Massimo Zanello - Assessore alle Culture, Identità e Autonomie della Lombardia, che ha in progetto il nuovo museo regionale “vivente” per la nuova sede di Regione Lombardia (2010), sarà il moderatore sulla tematica Le Collezioni d’Azienda. Intervengono Tanja Zepf, Responsabile di Art Forum Würth di Roma, Marcello Smarrelli, Direttore Artistico della Fondazione Ermanno Casoli Elica di Fabriano e Aline Pujo Presidente di IACCCA, International Association of Corporate Collections of Contemporary Art.

Chiude la sessione domenica 31 gennaio alle 11.00 il duplice incontro L’Arte come Business, in collaborazione con il Sole 24 ORE. Duplice perché c’è una prima parte squisitamente tecnica (tra le tematiche ad esempio si affronterà la questione IVA sulle opere d’arte in Italia - ndr 20% - a confronto con altre realtà estere) moderata da Salvatore Carrubba, Direttore Editoriale del gruppo il Sole 24 ORE, cui intervengono Vincent Pomarède, Curatore del Département des peintures del Louvre di Parigi, Massimo Sterpi Avvocato e socio fondatore dello studio Legale Jacobacci (vincitore Top Legal Awards 2009), un pool internazionale di esperti in proprietà intellettuale, e una seconda parte sottoforma di tavola rotonda. Intervengono Pierluigi Sacco, Professore ordinario di Economia della Cultura presso l’Università IUAV di Venezia, Mario Resca Direttore Generale per la Valorizzazione del Patrimonio Culturale (nomina luglio 2009, ex dirigente Mc Donald’s Italia ), Savio Roversi Monaco, Presidente della Fondazione Cassa di Risparmio in Bologna, presidente di Bologna Fiere e Gaetano Maccaferri, imprenditore bolognese di punta, presidente di Seci Spa, Holding del gruppo industriale Maccaferri, Presidente Unindustria Bologna, membro del Consiglio Direttivo di Confindustria (biennio 2008-2010), ed Anders Peterson Direttore di ArtTactic Limited di Londra, società che ha creato l’ArtTactic Survival Rating (2008), il misuratore di probabilità per ciascun artista di mantenere il proprio successo artistico e commerciale nel tempo.
Anche quest’anno ArteFiera è pronta ad offrire alle decine di migliaia di visitatori (50.000 nel 2009) una kermesse globale di cultura, spettacolo e mercato. Silvia Evangelisti, Direttore Artistico di ArteFiera, ci rammenta che questa poliedricità di eventi è prerogativa di ArteFiera e si ripete nel Bel Paese già da tre anni.

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I «FANTASTICI 4» DEL MERCATO DELL’ARTE NON RISENTONO DELLA CRISI