november-december 2016
This issue presents a selection of the most recent museum projects realised in Italy. This mixed collection ranges from the design of exhibition spaces to the expansion of buildings of notable architectural and historic value, conserving equally valuable collections of art, to the reuse of existing structures and the addition of new volumes, to small interventions that heighten the value of parts of the city or landscape.
Spaces of transit – metro, railway and maritime stations – have always been a significant and nodal presence in the fabric of the city. Today, for a society whose very raison d’être is to be sought in the act of movement, these spaces are an inevitable part of urban life. Public spaces par excellence and…
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At a time of economic crisis and an increasingly more unstable socio-political situation the philosophy underlying the survey of Italian architecture presented in this issue appears particularly appropriate. With the end of the season of large urban transformations that saw architecture play a leading role, from the midpoint of the last century onward, the scenario…
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The projects presented in this issue are not only the expression of a culture of dwelling tied to the particular geographical context of Chile; they are also an exemplification of a virtuous approach to the transformation of the city and territory. An approach that, having assimilated the most authentic lesson of the Modern Movement,…
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The city grows by expansion and at the same time by building atop itself, through additions, insertions and overlaps; this process has regulated its development throughout history. The method of urban evolution typical of every era is once again a the centre of architectural debate, as a consequence of an inversion in social and economic…
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Just one year after being inaugurated by the Former President of the French Republic Valéry Giscard d’Estaing on 31 January 1977, issue n. 76 of L’Industria delle costruzioni from February 1978 published the Centre Georges Pompidou by Renzo Piano & Richard Rogers. The presentation of the building intentionally avoided any critical commentary, opting instead for…
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