URBAN LANDSCAPE Between description and representation: inside and outside the landscape The panoramas of the city were created to stir emotions, to create expectations and - above all - they aimed to create awareness amongst their observers; as affirmed Walter Benjamin, "true" life is searched throughout the panoramas. That city had it all, it was a city full of events, a city lost in the horizon. The modern cities and their boundaries offer a new light, a flash moves through a white halo that veils the roofs; this new specific light derives from the smog, blinding lights and new machines that were developed to create heat and that spit dense residues changing the sky with their colors. Changes are dictated by the events that create abstract atmospheres, such as the ones found in Turner's painting called "Rain, steam and speed". It is a landscape that changes, it is a city that continues to follow the rhythmic flows of the future, passers-by, vehicles, daily activities... it is a city that runs through time and with time. THE URBAN LANSCAPE is a tool used to reflect, investigate and penetrate within this reality, which is in continuous motion and change. Above all, it is an experiment. The journey involves a panoramic vision that directs the attention towards the daily elements... The landscape is fragmented into a hundred pieces, into frenetic visions, into a turbulent movement of figures, into shortened and detailed images, into spacial relationships between cities and nature, into distorted overlapping situations; where the limit between description and representation is no longer clear. The more the observer takes in the details and is more attentive and ready to observe and memorize the elements and their surroundings, the images begin to scroll faster, sometimes even in slow motion and in some cases they stop and restart: a continuation of dynamic flows that follow each other. Integrated or not to a story, these have the power and will to belong to a summary of images on the city, changing landscape and on the opportunities each one of us is able to perceive, analyze, memorize and observe: a continuously changing place. The landscape is a living being with rhythms, variations and dynamic dimensions. It is a landscape that swiftly follows the rhythm of time; a landscape that simulates itself through its representations, which are more and more abstract and confusing... it is always a different landscape, it never looks the same. From below, within its central knots, the knots of friction and exchange that occur between function and power, the "landscape" represents the fragmented images of the landscape that describe and witness the coming of changes. Disorder regulates our spaces and our "landscapes" represents it.

Cianci, M.G. (2004). URBANOPAESAGGIO. Tra descrizione e rappresentazione: dentro e fuori il paesaggio. In E-Arcom 2004 - Tecnologie per comunicare l'architettura - DARDUS Università Politecnica Marche (pp.223-231). ANCONA : Clua Edizioni Ancona.

URBANOPAESAGGIO. Tra descrizione e rappresentazione: dentro e fuori il paesaggio

CIANCI, MARIA GRAZIA
2004-01-01

Abstract

URBAN LANDSCAPE Between description and representation: inside and outside the landscape The panoramas of the city were created to stir emotions, to create expectations and - above all - they aimed to create awareness amongst their observers; as affirmed Walter Benjamin, "true" life is searched throughout the panoramas. That city had it all, it was a city full of events, a city lost in the horizon. The modern cities and their boundaries offer a new light, a flash moves through a white halo that veils the roofs; this new specific light derives from the smog, blinding lights and new machines that were developed to create heat and that spit dense residues changing the sky with their colors. Changes are dictated by the events that create abstract atmospheres, such as the ones found in Turner's painting called "Rain, steam and speed". It is a landscape that changes, it is a city that continues to follow the rhythmic flows of the future, passers-by, vehicles, daily activities... it is a city that runs through time and with time. THE URBAN LANSCAPE is a tool used to reflect, investigate and penetrate within this reality, which is in continuous motion and change. Above all, it is an experiment. The journey involves a panoramic vision that directs the attention towards the daily elements... The landscape is fragmented into a hundred pieces, into frenetic visions, into a turbulent movement of figures, into shortened and detailed images, into spacial relationships between cities and nature, into distorted overlapping situations; where the limit between description and representation is no longer clear. The more the observer takes in the details and is more attentive and ready to observe and memorize the elements and their surroundings, the images begin to scroll faster, sometimes even in slow motion and in some cases they stop and restart: a continuation of dynamic flows that follow each other. Integrated or not to a story, these have the power and will to belong to a summary of images on the city, changing landscape and on the opportunities each one of us is able to perceive, analyze, memorize and observe: a continuously changing place. The landscape is a living being with rhythms, variations and dynamic dimensions. It is a landscape that swiftly follows the rhythm of time; a landscape that simulates itself through its representations, which are more and more abstract and confusing... it is always a different landscape, it never looks the same. From below, within its central knots, the knots of friction and exchange that occur between function and power, the "landscape" represents the fragmented images of the landscape that describe and witness the coming of changes. Disorder regulates our spaces and our "landscapes" represents it.
2004
88-87965-17-X
Cianci, M.G. (2004). URBANOPAESAGGIO. Tra descrizione e rappresentazione: dentro e fuori il paesaggio. In E-Arcom 2004 - Tecnologie per comunicare l'architettura - DARDUS Università Politecnica Marche (pp.223-231). ANCONA : Clua Edizioni Ancona.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11590/179616
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