As in a continuous chain, each image in this new journal issue is figuratively linked to the following one, creating a dialogue and raising questions on the different facets of the destruction. Destruction and Construction stand for both the process and its result. However, if construction has a finality in the constructed form, destruction has no purpose and completes itself in the unfinished. In this space and time between wholeness and fragmentation also lies the possibility of rediscovering the profound meaning of beauty or ‘the greatest pleasure’ of life as a fragment, paraphrasing the role of Thomas Bernard’s ‘Old Masters’. It is a beauty that resides in the narrative power of time, in the feeling of “the other”, in the curiosity of discovery, in the possibility of a horizon of meaning on which to be born again each time. Snapshot of the loss (Milan, 1946), utopian city fragments (The New Babylon, 1969), imprints of book pages carried away by the flood (Florence, 1966), erased artistic memory (Artemisia Gentileschi painting, 1616-1618), chaos of formal beauty (Krasnojarsk, 2010), new perspectives for the contemporary city (Paris, 1975), unexpected wounds immediately sutured (Beirut, 2020). But also abandoned architecture as a symbol of lifeless power (L’Aquila, 2006), earthquakes theatricality (Naples, 1981), destruction that breeds monsters (Francesco Hayez painting, 1867), and exploding collapsed bridge (Genoa, 2019) are here the ‘images of thought’ (Denkbilder) of the same narrative.

Cardani, L., Causarano, F., Giudetti, F., Macaluso, L., Meulli, M. (2024). DESTRUCTION INTO FRAGMENTS THOUGHTS COLLECTED BY MEANS OF IMAGES. ADH JOURNAL, 2, 11-23.

DESTRUCTION INTO FRAGMENTS THOUGHTS COLLECTED BY MEANS OF IMAGES

Macaluso, Luciana
;
2024-05-01

Abstract

As in a continuous chain, each image in this new journal issue is figuratively linked to the following one, creating a dialogue and raising questions on the different facets of the destruction. Destruction and Construction stand for both the process and its result. However, if construction has a finality in the constructed form, destruction has no purpose and completes itself in the unfinished. In this space and time between wholeness and fragmentation also lies the possibility of rediscovering the profound meaning of beauty or ‘the greatest pleasure’ of life as a fragment, paraphrasing the role of Thomas Bernard’s ‘Old Masters’. It is a beauty that resides in the narrative power of time, in the feeling of “the other”, in the curiosity of discovery, in the possibility of a horizon of meaning on which to be born again each time. Snapshot of the loss (Milan, 1946), utopian city fragments (The New Babylon, 1969), imprints of book pages carried away by the flood (Florence, 1966), erased artistic memory (Artemisia Gentileschi painting, 1616-1618), chaos of formal beauty (Krasnojarsk, 2010), new perspectives for the contemporary city (Paris, 1975), unexpected wounds immediately sutured (Beirut, 2020). But also abandoned architecture as a symbol of lifeless power (L’Aquila, 2006), earthquakes theatricality (Naples, 1981), destruction that breeds monsters (Francesco Hayez painting, 1867), and exploding collapsed bridge (Genoa, 2019) are here the ‘images of thought’ (Denkbilder) of the same narrative.
mag-2024
Settore CEAR-09/A - Composizione architettonica e urbana
Cardani, L., Causarano, F., Giudetti, F., Macaluso, L., Meulli, M. (2024). DESTRUCTION INTO FRAGMENTS THOUGHTS COLLECTED BY MEANS OF IMAGES. ADH JOURNAL, 2, 11-23.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10447/679565
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