Contemporary Heritage Lexicon

In the unique context of Italian engineering and architecture of the late twentieth century, the theme of the use of steel structures became central both in constructive and formal terms. In this context, in the line of research closer to the constructive realism, which in recent years has characterized especially the works in reinforced concrete, the peculiarity consisted in the use of the steel structure within a heterogeneous construction equipment. As in the most famous and widespread reinforced concrete works, the com-position of the constructive elements left in sight, defines the architectural language assuming, in some cases, the characters of a real structural expressionism. Within this framework it fits well the work of Enrico Mandolesi, Roman engineer already then University lecturer and established professional, who, parallel to an intense research on industrialization, experimented these themes in some representative buildings. All paradigmatic works (designed and built in the second half of the twentieth century) that, although framed in the more general line of research of structural expressionism, are distinguished by their common denominator: the widespread use of steel in combination with elements prefabricated on-site or industrialised. The proposed memoir has intended to deepen the innovative aspects of Mandolesi’s contribution to steel experimentation in Italy, also through the analysis of some of his works considered more representative for which it has been possible to retrace not only the ideation-design process, but also the executive phases and the construction process.

The heritage and semantic value of streets built in the contemporary era have always been challenging and critical. Complex relationships between the concept of the mental image and how a place is experienced are considered important issues in contemporary streets. The mental image is created through mutual understanding between citizens and the surrounding environment in urban spaces, ultimately deepening the experience and memories. The street is one of the most important spaces for creating collective memories because it depends on human presence to meet needs. The streets of contemporary cities have faced challenges and sometimes contradictions due to the many changes in creating this mental image. These streets have persisted despite changes in the approach to discourse and social communication without forming a mental image of them. The lack of use of effective components due to the conditions of this era has caused the identity and function of contemporary streets to be lost. Based on the explanations provided, it is important to address the relationship between citizens’ mental image and the formation of the streets of contemporary cities. Therefore, the purpose of this study is to explore the impact of creating the soul of the mental image and its reflection in the streets of contemporary cities. Additionally, the different semantic, social, cultural, and aesthetic characteristics of the mental image in the reality of the streets of contemporary cities will be studied.

This research explores the dynamic interplay between representation and contemporary art, revealing its multifaceted aspects beyond mere imitation. In today’s artistic milieu, representation acts as a channel for delving into social, political, and personal themes, surpassing traditional confines and provoking thoughtful contemplation. Whether through analog or digital methods, artists utilize drawing as a versatile medium to express concepts and profound emotions, pushing the boundaries of established aesthetics and nurturing innovation. The evolution of this relationship is intricately woven with the fabric of societal, technological, and cultural changes, prompting artists to experiment with unconventional materials and processes. From engaging with postmodern themes to addressing pressing global concerns such as human rights and environmental sustainability, contemporary artists navigate a complex terrain that reflect the multifaceted nature of modern society. The work of Shirin Abedinirad serves as a compelling example of the fusion of artistic expression and cultural commentary. Through her installations, she intricately intertwines elements of cultural identity, spirituality, and environmental awareness, inviting viewers to contemplate their place in the universe and their relationship with the natural world. By incorporating mirrors and organic materials, Abedinirad creates immersive experiences that challenge traditional notions of art and space, prompting introspection and dialogue on interconnectedness and sustainability.

Tactical urbanism is commonly characterized by punctual and low-cost actions, whereas their development and insertion have a plural character, promoting social capital. Similarly, other terms are used to nominate those practices as bottom-up, do-it-yourself urbanism, guerrilla urbanism, etc. Thus, there is a set of specific terms aimed at this niche of urban production, which forms a lexicon. However, it is essential to understand the nuances of each use of these terms associated with the production of cities on a small scale, which assumes different connotations. For this purpose, we revisit the historicity of the events surrounding tactical urbanism, starting with the Smithsons, Jacobs, de Certeau, and other urban theorists. They emphasized the protagonism of citizens and their relationship with actions in—and with the public space, while also reflecting upon the notion of collective city-building. The considerations developed in this period have since been revisited after the global crisis of 2008, informing novel approaches to urban ideation and construction. Therefore, we shall delve into the lexicons pertaining to the formulation of the term tactical urbanism, as well as the designations of the tactics themselves, discerning the terminologies employed and their alignment with the corresponding practices. Finally, it is crucial to consider the boundaries and potentialities of tactical urbanism as a concept and set of practices particularly concerning associated terminologies, as they can either expand or restrict its application, or even disregard other analogous practices.

Virtual reality has established a hybrid condition between the traditional categories of representing and experiencing spaces. The chapter investigates one of the fringe conditions of contemporary architecture associated with digitalisation: digital architecture designed for a virtual experience, drafting a tentative hypothesis on its heritage status. In 2021, the word “metaverse” became a hot topic, leading to an increased number of research products. The affordances of simulated reality are discussed in three main steps. The first is a clarification of its semantic range, focusing on the problem of the spatial sense of reality. Not only can parts of the physical world be transferred to the metaverse, but the virtual simulations also have repercussions on the physical world. Considering the discursive nature the notion of contemporary heritage acknowledges, the contribution that designers provide to metaverse has certainly its place in a wider debate on the recognition of intangible artefacts. Secondly, a systematic literature review of scientific publications containing both the terms “metaverse” and “architecture” will be presented. The landscape of the current status of academic research in this direction highlights prominent authors and research groups, and suggests streams of investigation for future developments. Finally, a tentative conclusion discerns five main theoretical points raised by authors in the literature, reviewed through a content analysis, with the intention of discussing possible implications for the discipline of architecture and suggesting how virtual environments have developed distinct forms of expression.

The work of architect Decio Tozzi represents a significant contribution to Brazilian contemporary architecture. In this context, one of the notable projects in his portfolio is the Veneza Farm Chapel, which, despite being nationally and internationally recognized, is located on private property, limiting public access. Heritage Building Information Modeling (HBIM) has been increasingly utilized for surveying and documenting heritage buildings in recent years. However, these complex systems and their visualizations are often limited to experts. To facilitate its dissemination and enable remote visit, the utilization of new tools and methods opens up new possibilities for accessing architectural heritage. Considering the potential to enhance the visualization of physically inaccessible buildings, the application of Extended Reality (XR) systems is worth exploring. Therefore, the objective of this research is to investigate the scan-to-HBIM-to-XR process as a means to enhance the value and dissemination of the architectural heritage, with a specific emphasis on the Veneza Farm Chapel. This approach not only enables spatial experimentation and remote access to information but also contributes to the preservation of cultural heritage. By leveraging Virtual and Augmented Reality technologies to make the chapel accessible to the public, students, professionals in the architecture field, and individuals interested in Brazilian architectural heritage can experience the building, despite its restricted physical access.

The close connection between reification of the human thought and hand movement is nowadays challenged by the ubiquitous automatization of most activities. Projects in architecture and design can now be directly produced inside the computer with CAD only, with no preliminary hand sketches. Such mechanistic pervasion has risen concerns in the academic world that the designer’s imagination may be dwarfed. The limited physical use of the hand could be one important cause of such a drawback. This paper reports on a novel experimental investigation, using electroencephalography, which suggests that creativity is probably boosted by the use of freehand drawing and impaired by the limited use of the hand in CAD. Different from previous investigations of ours, in this experiment the real working conditions of an architectural project were replicated. It was found that movement related electroencephalographic activity was enhanced in freehand sketching with the pen and decreased when CAD was used, providing a strong clue that higher cognitive functions, like creativity, were similarly affected.

In the current scenario, the systems developed to automatically improve their performance from the datasets made available to them have multiplied and have extended the field of action to disciplines deemed distinctly human. In the scientific literature there are numerous studies about the use of Artificial Intelligence (AI) in architectural design considered as a design support mechanism able to reduce material waste and simplify the conversation among the different domains in the process. So, while in the field of architecture until recently the interdisciplinary approach provided by AI was useful to optimize work and decision-making time, as well as to obtain more design and material variations, in the last period people began to explore unusual horizons for mathematical algorithms such as the visual construction of architectural design. The aim of this essay is to reflect on the contribution of these algorithms in order to explore the aesthetic and housing needs of people and the role that the designer must assume in this context.

Miami Beach is renowned for its Art Deco architecture, yet scattered along the shoreline stand vibrant structures that contribute significantly to the city's visual character. While the lifeguard towers of Miami have become ingrained in popular culture, their origins trace back to the aftermath of Hurricane Andrew in 1992. The hurricane left a trail of devastation in South Florida, rendering the existing lifeguard huts virtually nonexistent. Seizing an opportunity to redefine these structures as future icons, the City of Miami enlisted architect William Lane to create the initial replacements. Subsequently, additional towers emerged through collaborations with local businesses and design competitions. Now numbering 31, these kaleidoscopic towers act as magnetic attractions for photographers visiting the beach. Influenced by a fusion of organic forms, playful colors reminiscent of cartoons, and the city's distinctive Tropical Deco style, these structures continue to captivate tourists worldwide. In this case, the contemporary lexicon is read from the perspective of potentially temporal structures and for that reason important to catalogue.

The contribution traces the history of the Alicante Central Bus Station, the work of the architect Félix de Azúa Gruart, from 1943 to 1947, during the Spanish postwar period. This time was characterized by the international isolation of the Dictatorship, the economic restrictions and the scarcity of construction materials, and the imposition of cultural slogans that demanded a return to the language of certain episodes in Spanish architectural history. In this adverse context, this infrastructure for the transport of people emerges as a work of resistance and establishes links with the interwar functionalist architecture. The Station, along with four blocks of social housing, occupied the entirety of a block. This equipment was made up of a building for travellers and platforms for buses. Among its architectural values are the rationality of the structure, its spacious hall, the logic of the separation of circulation between users and machinery, the underground gallery and the external protection canopies. These characteristics have led to the building being registered in the DoCoMoMo-Ibérico database, but this has not prevented its obsolescence. The Station was closed in 2011. From then on, its reuse for the Seneca Cultural Space was considered.

Assuming Bruno Munari’s research as a starting point, the essay examines the expressive and compositional aspects of building envelopes in contemporary architecture. With a particular focus on the elements of curtain walls, the aim is to trace even the most complex structures back to simple geometric shapes. The intent is not their representation or graphic reproduction but the investigation of their geometric system, which allows us to analyze the rules underlying their mutation. This allows us to understand their structuring and their growth process. Observing analogies between simple geometric elements and their composition in complex forms makes it possible to identify common foundational and formative strategies. Kinetic and Programmed Art had a particular interest in objects’ variability, mutability and dynamism. Notable examples of this are the artistic research of the various collectives that sprung up in Italy and Europe. The works of these artists are conceived to be methodically programmed and serially reproduced, with a process very similar to the industrial one. The recent digital revolution applied to mechanical design has made it possible to transfer some of these artistic experiences to the world of architecture. Paneling and element tessellation techniques have enabled it to obtain a wealthy catalogue of curtain walls currently used in recent contemporary architecture. Complex geometric patterns that become architectural skins constitute one of the distinctive elements of contemporary architecture. Specifically, the study proposes to provide research based on the graphical analysis of the essential elements to identify the generative geometries of the building envelopes of contemporary architecture based on simple geometric features.

The concept of promenade architecturale formulated by Le Corbusier involves circulation, path, perspectives, and the experience through space and its various elements. By analyzing the architecture of Rem Koolhaas, the revisitation of this concept in a contemporary context can be observed. With a focus on the study of the path, visuals, circulation system, and its elements, in this paper we present an analysis of seven buildings that house art and culture designed by Rem Koolhaas (OMA). From the investigation developed involving bibliographic and iconographic research, readings, visits, photographs, and analytical drawings, the singular importance of circulation and path in the materialization of concepts defined by the architect can be observed. Koolhaas revisits the promenade architecturale concept, adopting elements and strategies from his contemporary lexicon. The elements of circulation materialize concepts and metaphors, especially those correlated to transgression, dynamism, tension, unexpected discoveries, and surprises. The promenade architecturale was revisited. The Dynamic Labyrinth of Rem Koolhaas.

The restoration of the Opificio Solimene, a post-World War II reinforced concrete building (Vietri, Italy 54–55), has been under discussion for some time. The study complements previous surveys, focusing on a sample of the masonry of the main façade. Close-range photogrammetry provides a precise and accurate description of the geometric anomalies and realistic photos of the interior of the infill wall. In fact, the degradation of the wall allows inspection at a convenient height for the acquisition of images and the direct measurement of certain details. The contribution discusses the experimental phases of the survey; it proposes some possible measurement operations within specific software for the management and virtual visualisation of the wall. The positive/negative 3D reality-based models obtained allowed static, functional and aesthetic investigations. The generalisation of the results aims to increase the information level of digital constructions. Degrees of possibility are addressed to identify a typological family that finds election in the management of Historic Building Information Model (HBIM) processes.

This chapter aims to investigate the intricate relationship between form and nature in contemporary Architecture, focusing on the works of renowned Portuguese architect Eduardo Souto de Moura. By examining three of his notable houses—Gerês House (1980), Baião House (1993), and Moledo House (1998)—this study delves into the interplay between architectural form and the surrounding natural environment. These houses, uniquely intertwined with historical layers and geographic context, establish an enduring connection between the artificial and the natural. The presence of pre-existing ruins in these works acts as a mediator, seamlessly integrating the architectural compositions with their surroundings. Through a meticulous analysis, this chapter illustrates how these dwellings become not only homes but also new ruins that merge harmoniously with nature. By exploring the singularities of a place, informed by its historical layers and geography, the study illuminates the understanding that Architecture can be considered a second nature. Ultimately, this investigation sheds light on the profound implications of the relationship between form, nature, and history in contemporary architectural practice.

The restoration of the thirteenth-century tower of the monastery of SS. Quattro Coronati in Rome was created from a multidisciplinary perspective, with particular attention to the use of a language that is both traditional and contemporary for the reintegration of the walls that constitute the reading text of the architecture, responding to the most current principles in field of restoration. The project redefines the spaces and volumes while respecting the ancient state of fact, but proposing a new version that meets the contemporary needs of using the premises according to the concept of integrated conservation. The most modern sustainability needs were taken into great consideration, with the use of recycled and natural materials, coming from the archaeological excavation of the tower, the latter being a main characteristic of traditional architecture, as well as particular attention to increasingly perfectly integrated, which, as demonstrated in several recent studies, can also be obtained with passive systems and traditional techniques used appropriately. These interventions were pursued in compliance with the concepts of distinguishability, minimum intervention and reversibility, declined with respect to the evaluation of the historical and aesthetic aspects of the building, with particular attention to the authenticity of the material and aimed at restoring a unitary but stratified image of the monument.

Between 1971 and 1972 an indoor swimming pool was designed and built in the municipality of Marbella as a service for a hotel. The project was carried out in Italy by the architect Paolo Portoghesi and the engineer Vittorio Gigliotti. In order to obtain the necessary permits, the plans had to be signed by architects who had a Spanish degree or who had homologated the one obtained in another country. For this reason, Alberto Balbontín de Orta and Antonio Delgado Roig were involved and directed the works. In 1997, for reasons of maintenance and speculation with the site, the building was demolished. This research highlights the value of the disappeared building and underlines the influences that were taken as a reference for its design. The rich culture of its designers, Portoghesi and Gigliotti, is demonstrated in this example of post-modern architecture in which the links with memory and nature stand out.

The contribution proposes to investigate, through drawing, the forms of unrealised architecture, left on paper and kept in archives. The projects of Luciana Natoli, an architect active in Sicily between 1962 and 1977, represent the starting point for the proposed study. The research and cataloguing of archive drawings and, in particular, the study of unrealised projects, suspended in time and in the space of memory, represent an occasion for reflection, an opportunity for a precise study of the professional and academic activity of an important protagonist of the Sicilian cultural scene. Through drawing, the architect constructs her idea of form and transfers it onto a support; redesigning is therefore configured as analysis, reading and decoding of the completed form. Investigating an architectural project through the study and digital restitution of forms means understanding the compositional process that generated it, the intentions, the underlying rules; likewise, the creation of three-dimensional digital models leads to implementing the available information through the production of new images.

In the broad panorama of slender structures, contemporary bell towers, built since the mid-twentieth century, have assumed iconic value within the global and local architectural landscape. New reasons led in the last century to define the contemporary building languages of sacred works (church-bells), thus determining the architectural characteristics of contemporary bell towers and, arising from post-modern stylistic influences, as well as in line with new religious directives. Hence, the typological analysis of contemporary Neapolitan bell towers that differ from the traditional ones and assume ‘different’ im-plants for each of them in terms of shape, size, volume, materials, and construction characteristics. Case study of the bell tower of the Immaculate Parish of Lourdes, known as the Loggetta bell tower (Fuorigrotta district of Naples) and built during the extensive INA-Casa project (1956) by architects M. Capobianco (1921–2005) and G. De Luca (1912–2004), provides the insertion of rod and node structures, extendable in height, along the south and east fronts. In conclusion, the proposed analysis is aimed at a knowledge in terms of form and geometry of contemporary bell towers, which although built in recent times, need interventions of knowledge, conservation and valorization, here described through the case-study above but extensible to other examples of the same ‘architectural category’.

On June 23, 1972, Emilio Ambasz inaugurated at the MoMa in New York the exhibition, Italy: The new domestic landscape. For some, this event coincided with the beginning of that fortunate season of Italian design, which, focusing on quality, specialization and elegance, showed itself to the world, becoming an absolute benchmark. The changed relationship of sharing concepts and experiments, but also the different way of looking at contemporary reality, poses the interesting challenge of imagining and preparing new hybrid forms of multimedia designed to represent the analyzed artefacts through the relationships that exist between them, identifying qualities, characteristics and formal principles. Ultimately, it becomes interesting, through the use of concepts such as superimposition, juxtaposition and contrast, to set up a narrative focused on the representation of the selected 152 chairs in relation to two specific analysis: that of the perceptive skeleton, useful for the representation of currents of thought, and the analysis of the production processes, useful for a comparison between the numerous techniques used in the experimentation of innovative materials. The analysis will be carried out trought multimedial and interactive systems of communication.

The paper aims to tell the story of the Rubik's Cube, starting from the genesis of the idea, through the patent drawings, to the outbreak of the phenomenon and subsequent developments in terms of representation. Born in 1975 as an exercise designed to help students better understand space, the Magic Cube invented by Ernő Rubik became one of the representative design objects of the 1980s. Since that time, the cube has been represented and immortalized an incalculable number of times, maintaining its fascination given by the spatial logic it encloses. The visual component of the cube will be analyzed within the paper, recounting how it was at the basis of the object's genesis, starting from geometry and arriving at the immediacy that only an image can have. An image so strong that it persists in the collective imagination even today.

The Palazzo of the Cassa di Risparmi di Livorno, currently the headquarters of the Livorno Foundation, stands in the city center of Livorno. Its current configuration is the product of the complex process of the post-World War II reconstruction plan for the city center, which traced the layout of the 1938 pre-war plan designed by Marcello Piacentini. The new reconstruction plan was approved in 1947, despite great opposition. The Palazzo of the Cassa di Risparmi was the first building to be constructed in the center based on the initiative of a private institution. It was built in the southwest corner of Piazza Grande, the former Piazza d'Armi, in continuity with the Tanzini block, the first reconstructed building block. The building was designed by the Roman architect Luigi Vagnetti, the same architect who had designed Palazzo Grande a short time earlier. The Palazzo of the Cassa di Risparmi di Livorno is an iconic container, built with a reinforced concrete frame structure, which houses a series of cultured citations, including diamond-pointed Pietra Serena ashlars, and highly stylized ovolo moldings. These elements were all reinterpreted through an original contemporary lexicon, which was also evident in the interiors designed by the author himself. This contribution aims to investigate the unpublished history of the building through the retrieval of archival materials and the use of digital survey techniques, which allows us to grasp the wealth of meaning, geometry, space, materials, and architectural features of this unique work.

In contemporary architecture, sustainability has become an integral and indispensable aspect. However, it is neither a new nor a static concept; rather, it has evolved over time from conservative and ecological principles to a regenerative approach, influencing both architectural theory and practice. Looking back, Bioclimatic Architecture stands out as an early example of sustainable architecture. Nevertheless, until the advent of the twenty-first century, sustainability remained confined within a specialized niche, primarily residing in the technical domain of engineering. This circumstance gave rise to a strong dichotomy between aesthetic and ethical considerations that permeated architectural theory until the emergence of Performative Architecture, whose goal was to make efficient use of resources without renouncing the creation of singular forms. The current step towards sustainability is epitomized by Regenerative Architecture, which focuses on the cyclical utilization of materials and energy resources within the framework of a circular economy. The meticulous selection and assembly of materials ensure that buildings contribute positively to the environment, marking a significant departure from previous sustainability paradigms. This chapter constitutes a comprehensive exploration of architectural theories that have arisen from the sustainability concept; thoughts and principles are revisited to highlight how the architectural lexicon has changed in parallel with the evolution of the sustainability concept. Finally, representative buildings in Barcelona are selected and analyzed with the purpose of extrapolating the aesthetic potential inherent in the current implementation of sustainability in architecture, as manifested through a renewed interest in materiality.