Journal articles on the topic 'Studio De Ferrari Architetti'

Il presente studio esplora il contatto tra architetti modernisti catalani e la produzione di libri, sotto il punto di vista specifico del lettering di ispirazione medievale. L’indagine permette di approfondire le modalità di rielaborazione delle forme medievali durante il Modernismo, condivise anche dal restauro «in stile» alla maniera di Viollet-le-Duc e argomento spesso trascurato in quanto considerato una sfortunata inflessione del gusto. Allargando invece lo sguardo al contesto generale e alle fonti d’ispirazione, vediamo che tale rielaborazione risponde a una necessità di rigenerazione sociale e comunitaria, che si riflette anche nella parallela riscoperta dei manoscritti medievali e nel restauro del Monastero di Ripoll. Esaminando lo stato della paleografia dell’epoca, troviamo che le illustrazioni dei testi paleografici e il design degli architetti condividono l’ibridazione tra filologia e creatività artistica. Allo stesso tempo, la produzione di lettere goticheggianti da parte della tipografia editoriale mostra i contatti tra l’estetica medievalista e l’industria. Segue l’analisi delle esperienze di lettering degli architetti Lluís Domènech i Montaner, principale punto di contatto tra architettura ed editoria ed esploratore di numerosi stili di lettering medievale, Camil Oliveras i Gensana, che giunse a una sintesi tra forme medievali e moderne, Josep Vilaseca i Casanovas, collaboratore di Domènech, e infine dell’illustratore Josep Pellicer i Fenyé, che utilizzò l’ispirazione medievale insieme ad altre, a seconda delle finalità nella trasmissione del messaggio artistico.

"The Participation of Italian Arhitects, Sculptors and Entrepreneurs in the Construction of the Heroes’ Monuments Fallen in the First World War in Interwar Romania. Seasonal or permanent migration from Italian regions to Romania in the 19th and 20th centuries involved a variable number of unskilled workers but also personalities (artists and sculptors), many Venetians and Friulians, who left clear, tangible evidence, of their stay and the results of their work on the Romanian territory. With the end of the First World War and with the outbreak of Greater Romania, the need to build memorials dedicated to those who fell in the struggles for the unification of the nation was felt throughout the country. Sculptors and entrepreneurs from Veneto and Friuli were among the protagonists of this process of institutionalizing memory. It is worth mentioning, regarding the sculpture, the presence in Romania of the artists Ettore Ferrari and Raffaello Romanelli; the Italian entrepreneurs and stonemasons, Giovanni Battista De Nicolò, Victor and Giovanni Mezzarobba, made a significant contribution to the materialization of the projects to honor the memory of the heroes of the First World War. The artistic and urban involvement of the Italians settled in Romania proved to be important in the construction of public monuments in many cities in Romania. Vincenzo Puschiasis (1874–1941), a sculptor established in Piatra Neamț in 1899, played a special role among the stone carvers of Friulian origin living in Romania. Puschias is established himself in Romania not only locally, but also nationally, through the large number and quality of monuments erected for the Romanian heroes who fell in the First World War. His works are characterized by strength, finesse, elegance, combination of styles and aesthetic harmony. After 1919, Vincenzo Puschias is founded the Construction Company in the County of Neamț, specializing in the construction of memorials dedicated to those who fell in the First World War. Among his most remarkable works in this field are: the funeral complex from the “Eternitatea” Cemetery of Piatra Neamț, made in collaboration with Gheorghe Iconaru; monuments of the heroes erected in Bistricioara, Căciulești, Verșești, Roznov, Bahna, Văleni, Zănești; obelisks in Gârcina, Oanțu, Roznov, Piatra Șoimului, Podoleni; the statue of the hero soldier from Viișoara. Keywords: Italian emigrants; First World War; sculptors and entrepreneurs; Ettore Ferrari; Raffaello Romanelli; The Mausoleum of the Heroes of Mateiaș; Vincenzo Puschiasis. "

Riassunto: Il presente saggio si propone come una prima approssimazione allo studio dell’edizioneitaliana della Cronaca generale d’Hispagna et del regno di Valenza di Pere Antoni Beuter, pubblicatanel 1556 a Venezia da Gabriele Giolito de’ Ferrari nella traduzione dello spagnolo Alfonso deUlloa. Quest’opera storiografica si inserisce in un contesto culturale importantissimo come quellodella Venezia del Cinquecento, particolarmente effervescente nel campo dell’editoria con figure diprim’ordine come Giolito e Ulloa. Il saggio si divide in tre momenti: il primo è costituito da unabreve introduzione sull’opera di Beuter e sulla traduzione di Ulloa; il secondo presenta la schedacatalografica dell’esemplare conservato presso la Biblioteca Civica di Verona; infine il terzo esponesinteticamente i contenuti della Cronaca.Parole chiave: Pere Antoni Beuter, Alfonso de Ulloa, Gabriele Giolito de’ Ferrari, Cronaca generaled’Hispagna et del regno di ValenzaAbstract: This essay is an approximation to the study of the the Italian edition of Pere AntoniBeuter’s Cronica generale d’Hispagna et del regno di Valenza, translated by the Spaniard Alfonso de Ulloa and published in Venice in 1556 by Gabriele Giolito de’ Ferrari. This chronicle is part of a majorcultural context, that of the Venice of the XVI century, very active in the emerging publishingbusiness with personalities such as Giolito and Ulloa. The essay is divided into three sections: 1. ashort introduction about the author and the translator; 2. the analytic description of the copy ofthe «Biblioteca Civica di Verona»; 3. the summaries of the contents of the Cronaca generale.Keywords: Pere Antoni Beuter, Alfonso de Ulloa, Gabriele Giolito de’ Ferrari, Cronaca generaled’Hispagna et del regno di Valenza, Biblioteca Civica di Verona

Questo articolo si propone di pubblicare un testo inedito di Gabriele Cesano risalente agli anni quaranta del cinquecento e concernente una illustrazione della cosiddetta Castrametazione di Polibio, ovvero una libera interpretazione di quelle sezioni del sesto libro delle Storie dedicate alla descrizione dell'esercito romano e al modo in cui alloggiavano le legioni. Come spiega Cesano stesso, tale testo doveva essere letto congiuntamente alla visione di una "pittura" raffigurante la pianta del campo. L'autore di questo studio, a tal riguardo, avanza l'ipotesi che quest'ultima si possa identificare con quella presente nella galleria della biblioteca del cardinale Ippolito II d'Este a Fontainebleau (ora perduta). Come si spiega ancora nel saggio, non si può escludere che tale dipinto fosse stato realizzato dall'architetto bolognese Sebastiano Serlio. Di quest'ultimo, d'altronde, è noto che negli stessi anni fece simili tavole anche per il re di Francia Francesco I.

L’obiettivo di questo studio consiste in un’analisi contrastiva della particella additiva dello spagnolo también e dei suoi possibili traducenti in italiano, con lo scopo di individuare i livelli di analisi più rilevanti in un’ottica contrastiva fra le due lingue. Lo studio è realizzato adottando una prospettiva funzionale e un approccio semasiologico. Inoltre, l’analisi si avvale di un modello di segmentazione pragmatica del testo: il Modello di Basilea (Ferrari et al. 2008), del quale studi precedenti (p. es., Borreguero 2014 e De Cesare / Borreguero 2014) hanno dimostrato la produttività in quanto strumento euristico capace di spiegare il comportamento testuale delle particelle polifunzionali, anche in un’ottica interlinguistica. Ad esempio, la saturazione del Quadro Informativo da parte di también attiva la funzione di connettivo testuale (vs. avverbio focalizzante) che, in un’ottica contrastiva con l’italiano, si traduce nella selezione di equivalenti diversi da anche. Infine, si focalizzerà l’attenzione su alcuni casi in cui l’ambiguità referenziale innescata dall’ampia mobilità distribuzionale di también deve essere necessariamente risolta per veicolare, nella traduzione, il medesimo insieme di elementi in gioco.

Con la diffusione della prospettiva lineare, l’architettura divenne uno dei principali temi di studio degli artisti rinascimentali. La necessità di rappresentare architetture credibili impose ai pittori di imparare a disegnare come gli architetti, combinando piante e alzati e applicando le regole proporzionali e morfologiche tramandate da Vitruvio. I trattati di prospettiva accolsero sistematicamente mirate istruzioni sul disegno degli edifici, così come i trattati di architettura dedicarono spazio alla rappresentazione prospettica, considerandola come una disciplina corrispondente a ciò che Vitruvio chiamava «scaenographia». A sancire lo stretto legame tra la prospettiva dei pittori e la scenografia vitruviana fu principalmente Daniele Barbaro che compose il suo celebre trattato di prospettiva come approfondimento del tema che tanto lo aveva impegnato nel suo altrettanto celebre commento a Vitruvio.AbstractWith the spread of linear perspective, architecture became one of the main disciplines studied by Renaissance artists. The need to represent credible architecture forced painters to learn how to draw like architects, combining plans and elevations and applying the proportional and morphological rules handed down by Vitruvius. The treatises of perspective systematically welcomed instructions on the design of buildings, just as the architectural treatises dedicated space to perspective representation, considering it as a discipline corresponding to what Vitruvius called «scaenographia». To establish the close link between the perspective of painters and the Vitruvian scenography was mainly Daniele Barbaro who composed his famous treatise on perspective as a deepening of the theme that had so busy him in his equally famous commentary on Vitruvius.

Se la realtà ci impone di ripensare città come super-organismi con minori impatti per una crescita economica attuale, efficiente sotto il profilo delle risorse e competitiva, senza emissioni negative (Paris Agreement, Green Deal), dall’altra è chiaro il bisogno di utopia per immaginare dei futuri alternativi, traendo spunto dalle epoche in cui gli ideali hanno avuto il potenziale di influenzare l’attività di progettisti e di pianificatori. In qualunque modo l’utilizzo di un verde più resiliente è diventato l’elemento cardine nei processi di trasformazione urbana. Non a caso anche architetti di fama mondiale come Boeri Associati, MVRDV, AMO/Koolhaas e BIG- Bjarke Ingels Group hanno improntato la loro ricerca sulla green tech al fine di utilizzarla nell’ambito di interventi architettura. Nella soluzione di diversi problemi ambientali: dal cambiamento climatico, alla emergenza COVID-19, dunque, l’utilizzo di un insieme di soluzioni verdi, resilienti e a diverse scale spaziali da quella della città, a quella di quartiere, di isolato e del singolo edificio è diventata una necessità.L’obiettivo di questo lavoro è presentare evidenziandone pregi e criticità alcuni progetti verdi, sia visionari, sia in fase di realizzazione, che si basano sui concetti chiave di sostenibilità, multifunzionalità, aumento dei servizi ecosistemici e multiscalarità. Se la utopia della Riforestazione Urbana di Stefano Boeri diventa realtà, invece la ricerca The Green Dip condotta dal The Why Factory Workshop rappresenta al momento solo uno studio, un manifesto per restituire vivibilità alle città contemporanee.

The purpose of this article is to explore the idea of relating storytelling with acousmatic music in the creation of a hybrid vehicle for transmitting stories. The concept of acousmatic storytelling is introduced, illustrated by the example of one of my own works which was created with the elements and techniques of storytelling as its conceptual basis. The article continues to investigate concepts of acousmatic storytelling in works from the repertoire of electroacoustic music, with composers such as Ferrari, Westerkamp, Derbyshire, Cousins and Young providing especially pertinent examples. Acousmatic storytelling integrates interviews, archival recordings, soundscape recordings, sonic icons and music quotations; the microphone becomes a time machine, ‘thought capturer’ and a conduit for conveying cultural information, elements which, combined with the sonic world composed in the studio, create a hybrid form. The concepts introduced in this article are useful for all those working with recorded sound, offering an approach to sonic creativity based on storytelling techniques and the way we experience past events through memory and sound recording. Acousmatic storytelling transmits a unique version of a story to the mind of the listener, who participates in the creation of the story and acts as co-creator of that story as experienced. In applying the methodology of interviews as well as researching past events and ‘writing’ about them, acousmatic storytelling composers can also be seen as historians and journalists.

At a certain point of his commentary on Plato’s Timaeus (317.15 ff. Wazink), Calcidius sets out to distinguish different kinds of obscurity that can affect a text. The first to be analysed is the obscuritas iuxta dicentem: in this case, obscuritas is said to depend on either a decision (studio) made by the author (this was the case of both Aristotle and Heraclitus), or the inefficacy of language (imbecillitas sermonis). Secondly, Calcidius takes into account the obscuritas iuxta audientem, i.e. that particular kind of obscurity which is due to both the novelty and even the oddity of the discourse (cum inaudita et insolita dicuntur), and the intellectual inadequacy of the listener (cum is qui audit pigriore ingenio est ad intellegendum). Thirdly, Calcidius mentions a kind of obscurity which is said to be iuxta rem. In other words, this obscurity is relative to any res (i.e. any object of analysis) which is such that it cannot be precisely and immediately understood. Note that Calcidius takes this to be the case of Plato’s chora: for, neither it can be perceived through the means of sense perception, nor it can be intellectually grasped. But, as Calcidius clarifies, the presence of a certain degree of obscurity in a text does not necessarily put its veritative value at risk, just as the being true of a text does not automatically entail its being clearly expressed (non statim quae vere dicuntur aperte etiam manifesteque dicuntur). Unfortunately, to this ancient example of hermeneutics no extensive study has ever been devoted, as Professor Franco Ferrari has often pointed out. So, my objective is to extensively scrutinise the general classification of obscuritates provided by Calcidius and then to relate it to the Middle Platonic strategies aimed at neutralising Plato’s obscuritas.

At a certain point of his commentary on Plato’s Timaeus (317.15 ff. Wazink), Calcidius sets out to distinguish different kinds of obscurity that can affect a text. The first to be analysed is the obscuritas iuxta dicentem: in this case, obscuritas is said to depend on either a decision (studio) made by the author (this was the case of both Aristotle and Heraclitus), or the inefficacy of language (imbecillitas sermonis). Secondly, Calcidius takes into account the obscuritas iuxta audientem, i.e. that particular kind of obscurity which is due to both the novelty and even the oddity of the discourse (cum inaudita et insolita dicuntur), and the intellectual inadequacy of the listener (cum is qui audit pigriore ingenio est ad intellegendum). Thirdly, Calcidius mentions a kind of obscurity which is said to be iuxta rem. In other words, this obscurity is relative to any res (i.e. any object of analysis) which is such that it cannot be precisely and immediately understood. Note that Calcidius takes this to be the case of Plato’s chora: for, neither it can be perceived through the means of sense perception, nor it can be intellectually grasped. But, as Calcidius clarifies, the presence of a certain degree of obscurity in a text does not necessarily put its veritative value at risk, just as the being true of a text does not automatically entail its being clearly expressed (non statim quae vere dicuntur aperte etiam manifesteque dicuntur). Unfortunately, to this ancient example of hermeneutics no extensive study has ever been devoted, as Professor Franco Ferrari has often pointed out. So, my objective is to extensively scrutinise the general classification of obscuritates provided by Calcidius and then to relate it to the Middle Platonic strategies aimed at neutralising Plato’s obscuritas.

The following chapter gathers some of the Architecture and Urban research activities developed during the 2017/18 academic year of Design Studios at POLIS University in Tirana. The idea was to push forward the topics initially explored within the PhD workshop trying to investigate new Architecture and Urban strategies for the future development of Prishtina as a new European Capital. Prishtina City LAB has been conceptualized as a multidisciplinary platform in which different scale of design projects shared the same issue regarding the city of Prishtina, focusing on specific applied research activities. Prishtina has been studied and conceptualized as a laboratory of Urban Experiments; in order to enrich the capacity of the students to manage urban complexity, Architects, Planners and external professionals have been engaged during one year of academic work. The Urban Planning Studio led by Besnik Aliaj and Sotir Dhamo with Llazar Kumaraku, Enrico Porfido, Eranda Janku; the Studio in Architecture and theory 3rd year led by Loris Rossi and Dorina Papa with the external consultation of Antonello Stella from the Department of Architecture in Ferrara (IT) and some of the work elaborated during the Thesis Studio led by Ledian Bregasi and Saimir Kristo has been stressed the idea of Prishtina City Lab as didactic experiments useful to produce new research topics for the Municipality of Prishtina and the academic environment of POLIS University

In questo contributo viene presentato uno studio di caso dedicato al tema della revisione collaborativa tra pari per la scrittura. La ricerca ha coinvolto una classe quarta di una scuola primaria ad alta densità migratoria, impegnata nella sperimentazione di un percorso di scrittura narrativa tratto dal sillabo di Osservare l'Interlingua (Pallotti, Borghetti, Rosi, 2022; Pallotti, Ferrari, 2019). L'indagine dà conto dei comportamenti correttivi di docente e allievi, concentrandosi in particolare sull'interazione tra istruzioni procedurali dell'insegnante, attualizzazione delle consegne nella fase di revisione ed eventuale accoglienza delle proposte nella fase di riscrittura da parte degli studenti. The collaborative revision of the written text. Acquisitional observations from a case study in a multilingual primary school This paper presents a case study on collaborative peer review for writing. The research involved fourth graders of a primary school in a north-Italian urban context. The pupils were engaged in experimenting with a narrative writing protocol taken from the syllabus of Osservare l'Interlingua (Pallotti, Borghetti, Rosi, 2022; Pallotti, Ferrari, 2019). The analysis considers the corrective behaviors of teacher and students, focusing in particular on the interaction between the teacher's procedural instructions to the revision phase and on the acceptance of the revision proposals in the rewriting phase by the authors.

Le Scuole Nazionali d’Arte (Escuelas Nacionales de Arte) de L’Avana, Cuba, restano a tutt’oggi, malgrado lo stato di alto degrado in cui versano, l’esempio più emblematico dell’uso delle bóvedas tabicadas in una architettura modernista. Splendido esempio di architettura organica, furono progettate, nei primi anni ’60 del secolo scorso, su incarico del governo rivoluzionario cubano, dagli architetti italiani Roberto Gottardi e Vittorio Garatti, e dal cubano Ricardo Porro. Consistono in 5 complessi edificati, per una superficie totale di 65.000 mq immersi in un parco naturale di 600.000 mq, dedicate all’insegnamento della danza, della musica, dell’arte teatrale, delle arti plastiche del balletto. Particolarmente disinvolta nell’uso della tecnica catalana o valenziana è la Scuola di Balletto, dove la monta ribassata delle volte doveva permettere, per volontà del progettista Vittorio Garatti, di essere percorribili e vissute anche in estradosso. Nella zona dell’ingresso, la perdita dell’ultimo folio estradossale a causa dell’incuria ed atti di vandalismo, ha suggerito una verifica numerica del suo grado di stabilità, utilizzando la Teoria di Heyman. Si è verificato il sistema voltato, nello stato precario in cui versa attualmente, sia a peso proprio, sia a folla compatta concentrata nella zona di chiave, dimostrando così una perdita di stabilità del 30%, che suggerisce la necessità di un pronto intervento di messa in sicurezza e successivo consolidamento.

The text analyses two houses, namely, Cà da Paes in Aurigeno, by Buzzi studio di architettura and Casa Ferretti in Bedretto by Baserga Mozzetti architetti. Although they present different formal outcomes, what they have in common is the contrast between the appearance and reality of the construction system. This reality is finally revealed by the clues prepared by the architects, with an approach that is not intended to dissimulate but rather to slow down the perception of the work, or rather of its constructive character, which is grasped only on closer examination. A reconstruction of the genesis of the two buildings enables us to clarify this observation, showing that they are the result of an attempt to reconcile not only regulatory and budgetary constraints, but also the different conceptions of heritage cultivated by the clients, architects and the municipal and cantonal control commissions. Each of these is reflected in a different image of “heritage”, the result of their different beliefs and convictions. The works discussed here seek to deal with this plurality of interpretations (and the divergent impulses arising from them), by embodying them as a theme of the design, which they interpret by treading with delicate poise (on the verge of ambiguity) the fine line between dissimulation and exhibition: an original path, in the recent architecture of the Canton Ticino, but not without its pitfalls.

La pandemia globale ha nettamente destabilizzato e ridefinito gli equilibri del vivere contemporaneo sia nel breve, che nel lungo periodo. La messa in discussione della “normalità” e delle forme abitative ordinarie, incentiva a ripensare al concetto di “nuovo normale” e a riprogettare i luoghi dell’abitare. Così nasce Wunderkammer, un progetto di ricerca architettonica che promuove l’atto del collezionare come strumento di riflessione e di confronto. Sono stati invitati architetti, artisti, scrittori, psicologi e professionisti sensibili al tema, a condividere il loro pensiero sui valori della resilienza e della partecipazione, riassumendolo in un’immagine e un testo di circa 1000 battute. Durante la reclusione domestica, i social media si sono rivelati l’unico strumento di comunicazione efficace e fruibile a tutti: la raccolta e la diffusione dei contributi, tramite l’utilizzo di piattaforme virtuali, ha permesso al progetto di alimentarsi e di evolversi, fino a collezionare oltre 60 riflessioni. L’interpretazione, l’analisi e il confronto degli elaborati raccolti hanno permesso di riconoscere un sentimento collettivo in corrispondenza delle diverse fasi della quarantena. In parallelo alla collezione di pensieri, che continuano ad arricchire la nostra “teca” virtuale, si analizzano i primi contributi raccolti, considerato materiale utile e propedeutico allo studio di nuove soluzioni architettoniche più consapevoli. É auspicabile dunque che i relativi elaborati e documenti possano diventare un supporto storico e sociologico prezioso per il nostro futuro; essenziali per il progetto che qui viene presentato in modo sintetico attraverso un approccio riflessivo, ottimista e partecipativo.

Il lavoro si propone di delineare quali evoluzioni la figura dell'e-tutor stia attraversando nel contesto della didattica telematica alla luce dei cambiamenti che i media digitali e sociali introducono (Rivoltella, 2017; Ferrari, 2019). Resta fondamentale la dimensione comunicativa su cui tale ruolo si basa (Rivoltella, 2006), che evidenzia la necessità di competenze di moderazione online, allestimento di gestione dei gruppi e animazione di online communities.All'e-tutor, in particolare, è richiesta consapevolezza sull'attività di modellamento che svolge nei confronti dei corsisti attraverso le sue attività comunicative e didattiche (interattive ed erogative) all'interno dei corsi di laurea online: agevolando l'interazione tra i docenti e gli studenti, favorendo il corretto svolgimento e monitoraggio delle attività didattiche, supportando il corpo docente nelle attività di verifica della preparazione degli studenti, affiancando docenti e studenti nella prova finale.In questo contributo si presenta lo studio di caso svolto sul ruolo dell'e-tutor in un ateneo telematico italiano utilizzando una metodologia di analisi già validata in letteratura.

Premessa: in Area Critica la rilevazione dell’EtCO2(CO2 fine espirio-End Tidal CO2) è considerata un Gold Standard, in relazione alleraccomandazioni internazionali AARC - Clinical Practice Guidelinedel 2011. Vi sono almeno tre momenti principali in cui è raccomandatala capnometria nel paziente ventilato meccanicamente:1. Verifica del corretto posizionamento di presidi per la pervietà delle vie aeree.2. Analisi della condizione di circolazione polmonare e ventilatoria.3. Ottimizzazione della ventilazione meccanica.Materiali e Metodi: lo studio, rivolto al personale infermieristicodell’Unità Operativa Rianimazione dell’ospedale Maggiore diBologna, ha avuto come obiettivo la valutazione dell’adesione alleraccomandazioni internazionali rispetto la gestione del monitoraggioEtCO2 ed è stato caratterizzato dai seguenti momenti:1. Pre-audit: caratterizzato da un periodo di due mesi per fotografareil comportamento senza attività di reminder;2. Questionario anonimo rivolto agli infermieri in servizio, con attività prevalentemente clinica e non più in affiancamento, perverificare le conoscenze sull’argomento;3. Attività di reminder attraverso: divulgazione di un video sullacorretta applicazione dell’EtCO2; presentazione dei datiemersi dal pre-audit; predisposizione di un poster sull’argomento;invio per posta elettronica delle principali raccoman-dazioni in merito all’uso della capnografia e dei links alla documentazionemultimedia predisposta; discussione in meritoall’argomento durante analisi di casi clinici o incontri; IN-ternal-audit (IN-audit) per valutare l’efficacia dei sistemi di reminder:verifica dell’adesione successiva alla attività di “sensibilizzazione”all’argomento, attraverso l’analisi degli indicatoridi processo stabiliti durante la fase di pre-audit.Risultati: dai dati analizzati, l’attività di reminder ha agito inmodo sensibilmente positivo sul miglioramento di tutti gli indicatorimonitorati.Conclusioni: lo studio proposto ha dimostrato che è possibileapplicare il modello dell’audit clinico al contesto assistenziale o insue piccole parti. L’audit è stato ben accettato dal personale nonostanteun “pre-audit non dichiarato” e questo è segno di maturità delgruppo di lavoro.I reminders adottati sono stati efficaci nello stimolare il cambiamento.Proposta per il futuro potrebbe essere la creazione di un canalemultimediale per “ricordare” le principali attività presenti in repartoo per descrivere nuove raccomandazioni.Con tali presupposti auspichiamo che un progetto nato comeargomento di tesi divenga un elemento della normale attività di raccoltadati per la “qualità delle cure”.Parole chiave: capnografia, EtCO2, gestione delle vie aeree,eventi avversi, sistemi di richiamo, audit clinico.Articolo originalePERVENUTO IL 28/01/2016ACCETTATO IL 29/03/2016Corrispondenza per richieste: Patrizia Ferrari,patrizia.ferrari@ausl.bologna.it

Every crisis at the same time reveals, forewarns and implies changes with cyclical trends that can be analyzed from different disciplinary perspectives, building scenarios to anticipate the future, despite uncertainties and risks. And the current crisis certainly appears as one of the most problematic of the modern era: recently, Luigi Ferrara, Director of the School of Design at the George Brown College in Toronto and of the connected Institute without Boundaries, highlighted how the pandemic has simply accelerated undergoing dynamics, exacerbating other crises – climatic, environmental, social, economic – which had already been going on for a long time both locally and globally. In the most economically developed contexts, from North America to Europe, the Covid emergency has led, for example, to the closure of almost 30% of the retail trade, as well as to the disposal and sale of many churches. Places of care and assistance, such as hospitals and elderly houses, have become places of death and isolation for over a year, or have been closed. At the same time, the pandemic has imposed the revolution of the remote working and education, which was heralded – without much success – more than twenty years ago. In these even contradictory dynamics, Ferrara sees many possibilities: new roles for stronger and more capable public institutions as well as the opportunity to rethink and redesign the built environment and the landscape. Last but not least, against a future that could be configured as dystopian, a unique chance to enable forms of citizenship and communities capable of inhabiting more sustainable, intelligent and ethical cities and territories; and architects capable of designing them. This multifactorial and pervasive crisis seems therefore to impose a deep review of the current unequal development models, in the perspective of that “creative destruction” that Schumpeter placed at the basis of the dynamic entrepreneurial push: «To produce means to combine materials and forces within our reach. To produce other things, or the same things by a different method, means to combine these materials and forces differently» (Schumpeter, 1912). A concept well suiting to the design practice as a response to social needs and improving the living conditions. This is the perspective of Architectural Technology, in its various forms, which has always placed the experimental method at the center of its action. As Eduardo Vittoria already pointed out: «The specific contribution of the technological project to the development of an industrial culture is aimed at balancing the emotional-aesthetic data of the design with the technical-productive data of the industry. Design becomes a place of convergence of ideas and skills related to factuality, based on a multidisciplinary intelligence» (Vittoria, 1999). A lucid and appropriate critique of the many formalistic emphases that have invested contemporary architecture. In the most acute phases of the pandemic, the radical nature of this polycrisis has been repeatedly invoked as a lever for an equally radical modification of the development models, for the definitive defeat of conjunctural and emergency modes of action. With particular reference to the Italian context, however, it seems improper to talk about a “change of models” – whether economic, social, productive or programming, rather than technological innovation – since in the national reality the models and reference systems prove to not to be actually structured. The current socio-economic and productive framework, and the political and planning actions themselves, are rather a variegated and disordered set of consolidated practices, habits often distorted when not deleterious, that correspond to stratified regulatory apparatuses, which are inconsistent and often ineffective. It is even more difficult to talk about programmatic rationality models in the specific sector of construction and built environment transformation, where the enunciation of objectives and the prospection of planning actions rarely achieve adequate projects and certain implementation processes, verified for the consistency of the results obtained and monitored for the ability in maintaining the required performance over time. Rather than “changing the model”, in the Italian case, we should therefore talk about giving shape and implementation to an organic and rational system of multilevel and inter-sectorial governance models, which assumes the principles of subsidiarity, administrative decentralization, inter-institutional and public-private cooperation. But, even in the current situation, with the pandemic not yet over, we are already experiencing a sort of “return to order”: after having envisaged radical changes – new urban models environmentally and climatically more sustainable, residential systems and public spaces more responsive to the pressing needs of social demand, priority actions to redevelop the suburbs and to strength infrastructures and ecosystem services, new advanced forms of decision-making decentralization for the co-planning of urban and territorial transformations, and so on – everything seems to has been reset to zero. This is evident from the list of actions and projects proposed by the National Recovery and Resilience Plan (NRRP), where no clear national strategy for green transition emerges, even though it is repeatedly mentioned. As highlighted by the Coordination of Technical-Scientific Associations for the Environment and Landscape1, and as required by EU guidelines2, this transition requires a paradigm shift that assumes eco-sustainability as a transversal guideline for all actions. With the primary objective of protecting ecosystem balances, improving and enhancing the natural and landscape capital, as well as protecting citizen health and well-being from environmental risks and from those generated by improper anthropization phenomena. The contents of the Plan explicitly emphases the need to «repair the economic and social damage of the pandemic crisis» and to «contribute to addressing the structural weaknesses of the Italian economy», two certainly relevant objectives, the pursuit of which, however, could paradoxically contrast precisely with the transition to a more sustainable development. In the Plan, the green revolution and the ecological transition are resolved in a dedicated axis (waste management, hydrogen, energy efficiency of buildings, without however specific reform guidelines of the broader “energy” sector), while «only one of the projects of the Plan regards directly the theme Biodiversity / Ecosystem / Landscape, and in a completely marginal way» (CATAP, 2021). Actions are also limited for assessing the environmental sustainability of the interventions, except the provision of an ad hoc Commission for the streamlining of some procedural steps and a generic indication of compliance with the DNSH-Do not significant Harm criterion (do not cause any significant damage), without specific guidelines on the evaluation methods. Moreover, little or nothing in the Plan refers on actions and investments in urban renewal, abandoned heritage recovery3, of in protecting and enhancing areas characterized by environmental sensitivity/fragility; situations widely present on the national territory, which are instead the first resource for a structural environmental transition. Finally yet importantly, the well-known inability to manage expenditure and the public administration inefficiencies must be considered: a limit not only to the effective implementation of projects, but also to the control of the relationship between time, costs and quality (also environmental) of the interventions. In many places, the Plan has been talked about as an opportunity for a real “reconstruction”, similar to that of post-war Italy; forgetting that the socio-economic renaissance was driven by the INA-Casa Plan4, but also by a considerable robustness of the cultural approach in the research and experimentation of new housing models (Schiaffonati, 2014)5. A possible “model”, which – appropriately updated in socio-technical and environmental terms – could be a reference for an incisive governmental action aiming at answering to a question – the one of the housing – far from being resolved and still a priority, if not an emergency. The crisis also implies the deployment of new skills, with a review of outdated disciplinary approaches, abandoning all corporate resistances and subcultures that have long prevented the change. A particularly deep fracture in our country, which has implications in research, education and professions, dramatically evident in the disciplines of architectural and urban design. Coherently with the EU Strategic Agenda 2019-2024 and the European Pillar of Social Rights, the action plan presented by the Commission in March 2021, with the commitment of the Declaration of Porto on May 7, sets three main objectives for 2030: an employment rate higher than 78%, the participation of more than 60% of adults in training courses every year and at least 15 million fewer people at risk of social exclusion or poverty6. Education, training and retraining, lifelong learning and employment-oriented skills, placed at the center of EU policy action, now require large investments, to stimulate employment transitions towards the emerging sectors of green, circular and digital economies (environmental design and assessment, risk assessment & management, safety, durability and maintainability, design and management of the life cycle of plans, projects, building systems and components: contents that are completely marginal or absent in the current training offer of Architecture). Departments and PhDs in the Technological Area have actively worked with considerable effectiveness in this field. In these regards, we have to recall the role played by Romano Del Nord «protagonist for commitment and clarity in identifying fundamental strategic lines for the cultural and professional training of architects, in the face of unprecedented changes of the environmental and production context» (Schiaffonati, 2021). Today, on the other hand, the axis of permanent and technical training is almost forgotten by ministerial and university policies for the reorganization of teaching systems, with a lack of strategic visions for bridging the deficit of skills that characterizes the area of architecture on the facing environmental and socio-economic challenges. Also and precisely in the dual perspective of greater interaction with the research systems and with the world of companies and institutions, and of that trans- and multi-disciplinary dimension of knowledge, methods and techniques necessary for the ecological transition of settlement systems and construction sector. Due to the high awareness of the Technological Area about the multifactorial and multi-scale dimension of the crises that recurrently affect our territories, SITdA has been configured since its foundation as a place for scientific and cultural debate on the research and training themes. With a critical approach to the consoling academic attitude looking for a “specific disciplinary” external and extraneous to the social production of goods and services. Finalizing the action of our community to «activate relationships between universities, professions, institutions through the promotion of the technological culture of architecture [...], to offer scientific-cultural resources for the training and qualification of young researchers [...], in collaboration with the national education system in order to advance training in the areas of technology and innovation in architecture» (SITdA Statute, 2007). Goals and topics which seem to be current, which Techne intends to resume and develop in the next issues, and already widely present in this n. 22 dedicated to the Circular Economy. A theme that, as emerges from the contributions, permeates the entire field of action of the project: housing, services, public space, suburbs, infrastructures, production, buildings. All contexts in which technological innovation invests both processes and products: artificial intelligence, robotics and automation, internet of things, 3D printing, sensors, nano and biotechnology, biomaterials, biogenetics and neuroscience feed advanced experiments that cross-fertilize different contributions towards common objectives of circularity and sustainability. In this context, the issue of waste, the superfluous, abandonment and waste, emerge, raising the question of re-purpose: an action that crosses a large panel of cases, due to the presence of a vast heritage of resources – materials, artefacts, spaces and entire territories – to be recovered and re-functionalized, transforming, adapting, reusing, reconverting, reactivating the existing for new purposes and uses, or adapting it to new and changing needs. Therefore, by adopting strategies and techniques of reconversion and reuse, of re-manufacturing and recycling of construction and demolition waste, of design for disassembly that operate along even unprecedented supply chains and which are accompanied by actions to extend the useful life cycle of materials , components and building systems, as well as product service logic also extended to durable goods such as the housing. These are complex perspectives but considerably interesting, feasible through the activation of adequate and updated skills systems, for a necessary and possible future, precisely starting from the ability – as designers, researchers and teachers in the area of Architectural Technology – to read the space and conceive a project within a system of rationalities, albeit limited, but substantially founded, which qualify the interventions through approaches validated in research and experimental verification. Contrarily to any ineffective academicism, which corresponds in fact to a condition of subordination caused by the hegemonic dynamics at the base of the crisis itself, but also by a loss of authority that derives from the inadequate preparation of the architects. An expropriation that legitimizes the worst ignorance in the government of the territories, cities and artifacts. Education in Architecture, strictly connected to the research from which contents and methods derive, has its central pivot in the project didactic: activity by its nature of a practical and experimental type, applied to specific places and contexts, concrete and material, and characterized by considerable complexity, due to the multiplicity of factors involved. This is what differentiates the construction sector, delegated to territorial and urban transformations, from any other sector. A sector that borrows its knowledge from other production processes, importing technologies and materials. With a complex integration of which the project is charged, for the realization of the buildings, along a succession of phases for corresponding to multiple regulatory and procedural constraints. The knowledge and rationalization of these processes are the basis of the evolution of the design and construction production approaches, as well as merely intuitive logics. These aspects were the subject of in-depth study at the SITdA National Conference on “Producing Project” (Reggio Calabria, 2018), and relaunched in a new perspective by the International Conference “The project in the digital age. Technology, Nature, Culture” scheduled in Naples on the 1st-2nd of July 2021. A reflection that Techne intends to further develop through the sharing of knowledge and scientific debate, selecting topics of great importance, to give voice to a new phase and recalling the practice of design research, in connection with the production context, institutions and social demand. “Inside the Polycrisis. The possible necessary” is the theme of the call we launched for n. 23, to plan the future despite the uncertainties and risks, foreshadowing strategies that support a unavoidable change, also by operating within the dynamics that, for better or for worse, will be triggered by the significant resources committed to the implementation of the Recovery Plan. To envisage systematic actions based on the centrality of a rational programming, of environmentally appropriate design at the architectural, urban and territorial scales, and of a continuous monitoring of the implementation processes. With the commitment also to promote, after each release, a public moment of reflection and critical assessment on the research progresses. NOTES 1 “Osservazioni del Coordinamento delle Associazioni Tecnico-scientifiche per l’Ambiente e il Paesaggio al PNRR”, 2021. 2 EU Guidelines, SWD-2021-12 final, 21.1.2021. 3 For instance, we can consider the 7,000 km of dismissed railways, with related buildings and areas. 4 The two seven-year activities of the Plan (1949-1963) promoted by Amintore Fanfani, Minister of Labor and Social Security at the time, represented both an employment and a social maneuver, which left us the important legacy of neighborhoods that still today they have their own precise identity, testimony of the architectural culture of the Italian twentieth century. But also a «grandiose machine for the housing» (Samonà, 1949), based on a clear institutional and organizational reorganization, with the establishment of a single body (articulated in the plan implementation committee, led by Filiberto Guala, with regulatory functions of disbursement of funds, assignment of tasks and supervision, and in the INA-Casa Management directed by the architect Arnaldo Foschini, then dean of the Faculty of Architecture), which led to the construction of two million rooms for over 350,000 families. See Di Biagi F. (2013), Il Contributo italiano alla storia del Pensiero – Tecnica, Enciclopedia Treccani. 5 From Quaderni of the Centro Studi INA-Casa, to Gescal and in the Eighties to the activity of CER. Complex theme investigated by Fabrizio Schiaffonati in Il progetto della residenza sociale, edited by Raffaella Riva. 6 Ferruccio De Bortoli underlines in Corriere della Sera of 15 May 2021: «The revolution of lifelong learning (which) is no less important for Brussels than the digital or green one. By 2030, at least 60 per cent of the active population will have to participate in training courses every year. It will be said: but 2030 is far away. There’s time. No, because most people have escaped that to achieve this goal, by 2025 – that is, in less than four years – 120 million Europeans will ideally return to school. A kind of great educational vaccination campaign. Day after tomorrow».