The landscape flows before us indeterminate, neither ugly nor beautiful; it waits for our sensitivity and awareness to learn and read it, interpret it, evoke it: we must go towards it, removing layer by layer, the misunderstandings thickened in the folds of time and space. The site object of this short narration (almost a travel report signed by impressions and personal visions) goes into the depth of the Tuscia’s rock area, where an ancient sanctuary dedicated to the Demeter divinity takes place into the sculptural context of an ancient peperino stone quarry. In its structure, the writing tries to descend the primary reasons for the appearance of the form by sensing the complexity of meaning of that appearance. That place would gradually reveal itself for what it is physically, for its extraordinary historical identity, for the memory it continues to preserve.
Franciosini, L. (2020). Il paesaggio come sedimento storico. Il santuario rupestre di Macchia delle Valli tra Vetralla e Villa San Giovanni in Tuscia The landscape as a historical sediment. The rocky sanctuary of Macchia delle Valli between Vetralla and Villa San Giovanni in Tuscia. U+D, URBANFORM AND DESIGN, 13, 26-35.
Il paesaggio come sedimento storico. Il santuario rupestre di Macchia delle Valli tra Vetralla e Villa San Giovanni in Tuscia The landscape as a historical sediment. The rocky sanctuary of Macchia delle Valli between Vetralla and Villa San Giovanni in Tuscia
Luigi Franciosini
2020-01-01
Abstract
The landscape flows before us indeterminate, neither ugly nor beautiful; it waits for our sensitivity and awareness to learn and read it, interpret it, evoke it: we must go towards it, removing layer by layer, the misunderstandings thickened in the folds of time and space. The site object of this short narration (almost a travel report signed by impressions and personal visions) goes into the depth of the Tuscia’s rock area, where an ancient sanctuary dedicated to the Demeter divinity takes place into the sculptural context of an ancient peperino stone quarry. In its structure, the writing tries to descend the primary reasons for the appearance of the form by sensing the complexity of meaning of that appearance. That place would gradually reveal itself for what it is physically, for its extraordinary historical identity, for the memory it continues to preserve.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.